If you like it support the band buying it at : http://thearistocrats.spinshop.....com/Home/details/23

Guthrie Govan - Guitars
Brian Beller - Bass
Marco Minnemman - Drums

⁣Cliff 'Em All is a compilation of video footage, and the first video album by the American heavy metal band Metallica. It was released on November 17, 1987, as a tribute to Metallica's bassist Cliff Burton, who died in a tour bus accident on September 27, 1986, at the age of 24, near Ljungby, Sweden, during the European leg of their Master of Puppets world tour. Its title is derived from Metallica's debut album, Kill 'Em All. The home video also features a performance with former guitarist Dave Mustaine on March 19, 1983, shortly before his ousting from the band.

The video is a retrospective on the three and a half years that Cliff Burton was in Metallica, presented as a collection of bootleg footage shot by fans, some professional filming and TV shots that were never used and some of his best bass solos, personal photos and live concerts. Photos and narrations by the band (Lars Ulrich, James Hetfield and Kirk Hammett drinking beer) are placed between songs, which focus on Burton before fading into a title card of a performance. The video ends with the melodic interlude of "Orion" as pictures of Burton are shown.
With this video, the band tries to show the unique personality and style he had. While ostensibly the film focuses on Burton, it also has given fans a rare glimpse of Metallica's less-documented early career. This contrasts sharply with the 'Metallica business' represented in the feature film Metallica: Some Kind of Monster.
The back of the case reads "Well, we finally went and did what we always talked about not doing. Releasing a vid[eo]! Before you throw up in disgust, let us (except K.) tell you the idea behind this." The "K" is presumably short for Kirk, explaining why he is on the bottom of the cover.

‘THE END OF MEDICINE’ INVESTIGATES LINK BETWEEN DISEASE AND ANIMAL CONSUMPTION

While Joaquin Phoenix and Rooney Mara have starred in many movies together, they’ve now teamed up to make a movie. The duo–who are as equally respected by Hollywood as they are by the animal rights community–lend their influence to a new feature-length investigative documentary called The End of Medicine. As executive producers, Phoenix and Mara team up with BAFTA-winning director Alex Lockwood (73 Cows) and producer Keegan Kuhn (Cowspiracy, What The Health) to expose a disturbing, dirty little secret that the food industry has been trying to conceal for decades.
In a swift 73 minutes, The End of Medicine draws attention to the underreported link between global disease–pandemics and antibiotic resistance included–and our (mis)use of animals. The film gets its momentum from whistleblower Dr. Alice Brough, a young vet who first grew intolerant toward the industry’s “acceptable” practices of animal agriculture. As we see, Dr. Brough risks her professional career and livelihood to denounce the corruption within the industry by sharing insider information about the reality of factory farming and animal disease. Through her tears, we can clearly see how distressed she is as she talks directly to the camera, remorseful for her contributions to the industry in the past.

Where to watch: ‘The End of Medicine’ is available on VOD May 10th.
While Joaquin Phoenix and Rooney Mara have starred in many movies together, they’ve now teamed up to make a movie. The duo–who are as equally respected by Hollywood as they are by the animal rights community–lend their influence to a new feature-length investigative documentary called The End of Medicine. As executive producers, Phoenix and Mara team up with BAFTA-winning director Alex Lockwood (73 Cows) and producer Keegan Kuhn (Cowspiracy, What The Health) to expose a disturbing, dirty little secret that the food industry has been trying to conceal for decades.
In a swift 73 minutes, The End of Medicine draws attention to the underreported link between global disease–pandemics and antibiotic resistance included–and our (mis)use of animals. The film gets its momentum from whistleblower Dr. Alice Brough, a young vet who first grew intolerant toward the industry’s “acceptable” practices of animal agriculture. As we see, Dr. Brough risks her professional career and livelihood to denounce the corruption within the industry by sharing insider information about the reality of factory farming and animal disease. Through her tears, we can clearly see how distressed she is as she talks directly to the camera, remorseful for her contributions to the industry in the past.

In typical call-to-action-type documentaries, The End of Medicine provides an overwhelming number of facts that are meant to shock the viewer into making immediate lifestyle changes. Industry insiders, government advisors, politicians, scientists, and leading doctors share unnerving statistics that at times, feel more hopeless than optimistic.
One claim that caused me to sit up a little straighter was hearing that 3 out of 4 emerging infectious diseases come from an animal source. This tends to happen because an animal’s immune system is lowered when they’re stressed, and they’re stressed because they’re so densely packed in cages in unsanitary conditions. It’s easy for the animal, then, to catch an infection and spread it to the rest of their cage-mates and eventually, the humans who consume them. Not surprisingly, COVID was used as an example: We socially distance ourselves from other sick humans but are doing the exact opposite to animals. This film asks, “Why?”
The End of Medicine has one goal in mind, and that is to get its audience to think twice about consuming animal products. Ideally, Phoenix and Mara would be able to convince all of us to go completely vegan (but it may take a few more documentaries for that to happen). While the note the film ends on isn’t the most optimistic in tone, aside from the standard “transform yourself to transform the world”, its intentions are pure and worthwhile. Films like these are important, and if The End of Medicine causes you to pause before ordering the burger–even for a moment–then it’s done its job.


REVIEW RESOURCE: https://cinemacy.com/the-end-of-medicine-review/

⁣Huron University College professor refuses to abide by school’s vaccine mandate in the name of ethics.


Huron University College professor is speaking out against the institution’s vaccine mandate, questioning the ethics of “coercing people into medical procedures” for those refusing to get the COVID-19 vaccine. The professor states in the video, which has since been removed from YouTube, that she fears for her employment.


Julie Ponesse, an ethics professor at Huron University College which is affiliated with Western University, describes it as “ethically wrong” to require staff and students to be fully vaccinated, despite the policy also being encouraged by Ontario health officials.


“I am facing imminent dismissal after 20 years on the job. Because I will not submit to having an experimental vaccine injected into my body,” said Ponesse in the video.
“I don’t work in a high-risk environment. I’m not a doctor in an emergency room. I’m a teacher. I’m a university professor,” she adds.


This video comes amid a statement released Tuesday by Western University President and Vice-Chancellor Alan Shepard, after a “disturbing trend” involving several large gatherings near the campus in London, Ont., during frosh week.


“This activity is a blatant disregard for the campus community, public health, and the law,” Shepard wrote. “We want to be clear: if this activity continues, the academic year we have so carefully planned will not happen. In-person learning with fellow students, interaction with professors, extra-curricular activities, athletics and all the things that make your student experience great will be lost.

Watch PART 2 (TWO) here => ⁣https://vajratube.com/v/B4mRnJ
⁣After a long summer of feasting, their bodies stately and plump, the emperor penguins of Antarctica begin to feel, toward autumn, a need to march inland to the breeding grounds "where each and every one of them was born." They are all of a mind about this, and walk in single file, thousands of them, in a column miles long. They all know where they are going, even those making the march for the first time, and when they get there, these countless creatures, who all look more or less the same to us, begin to look more or less desirable to one another. Carefully, they choose their mates.

This is not a casual commitment. After the female delivers one large egg, the male gathers it into a fold of his abdomen, plants his feet to protect the egg from the ice below, and then stands there for two months with no food or water, in howling gales, at temperatures far below zero, in total darkness, huddled together with the other fathers for warmth. The females meanwhile, march all the way back to the sea, now even more distant, to forage for food, which they will bring when the spring comes, if they know it must. When the females return to the mass of countless males, they find their mate without error and recognize the cries of chicks they have never seen.

"March of the Penguins" is simply, and astonishingly, the story of this annual cycle. It was filmed under unimaginable conditions by the French director Luc Jacquet and his team, including the cinematographers Laurent Chalet and Jerome Maison. There is not much to choose from in setting up their shots: On the coldest, driest and (in winter) darkest continent on Earth, there is snow, and there is ice, and there are penguins. There is also an ethereal beauty.

Although the compulsion to reproduce is central to all forms of life, the penguins could be forgiven if they'd said the hell with it and evolved in the direction of being able to swim to Patagonia. The film's narrator, Morgan Freeman, tells us that Antarctica was once a warm land with rich forests that teemed with creatures. But as the climate grew colder over long centuries, one lifeform after another bailed out, until the penguins were left in a land that, as far as they can see, is inhabited pretty much by other penguins, and edged by seas filled with delicious fish. Even their predators, such as the leopard seal, give them a pass during the dark, long, cold winter.

"This is a love story," Freeman's narration assures us, reminding me for some reason of Tina Turner singing "What's Love Got to Do With It?" I think it is more accurately described as the story of an evolutionary success. The penguins instinctively know, because they have been hard-wired by evolutionary trial and error, that it is necessary to march so far inland because in spring, the ice shelf will start to melt toward them, and they need to stand where the ice will remain thick enough to support them.

As a species, they learned this because the penguins who paused too soon on their treks had eggs that fell into the sea. Those who walked farther produced another generation, and eventually every penguin was descended from a long line of ancestors who were willing to walk the extra mile.

Why do penguins behave in this manner? Because it works for them, and their environment gives them little alternative. They are Darwinism embodied. But their life history is so strange that until the last century, it was not even guessed at. The first Antarctic explorers found penguins aplenty, but had little idea where they came from, where they went to, and indeed whether they were birds or mammals.

The answers to those questions were discovered by a man named Apsley Cherry-Garrard, in one of the most remarkable books ever written, The Worst Journey in the World (1922). He was not writing about the journey of the penguins, but about his own trek with two others through the bitter night to their mating grounds. Members of Scott's 1910-1912 expedition to the South Pole, they set out in the autumn to follow the march of the penguins, and walked through hell until he found them, watched them, returned with one of their eggs. Cherry-Garrard retired to England, where he lived until 1959; his friends felt the dreadful march, and the later experience of finding the frozen bodies of Scott and two others, contributed to his depression for the rest of his life.

For Jacquet and his crew, the experience was more bearable. They had transport, warmth, food and communication with the greater world. Still, it could not have been pleasant, sticking it out and making this documentary, when others were filming a month spent eating at McDonald's. The narration is a little fanciful for my taste, and some of the shots seem funny to us but not to the penguins. When they fall over, they do it with a remarkable lack of style. And for all the walking they do, they're ungainly waddlers. Yet they are perfect in their way, with sleek coats, grace in the water and heroic determination. It's poignant to watch the chicks in their youth, fed by their parents, playing with their chums, the sun climbing higher every day, little suspecting what they're in for.

REVIEW RESOURCE: https://www.rogerebert.com/rev....iews/march-of-the-pe

⁣People have seen crop circles created by a tube of light in less than fifteen seconds, bending the plants without damage, altering the electromagnetic field and soil, and encoding new math theorems. Now that you know what humans can't do, discover who can.
“It is perfectly natural to ask if crop circles are hoaxes, but very difficult to explain why they cannot be hoaxes satisfactorily,” remarked NASA engineer Pat Delgado. And he was right, because people cannot steam plants at right angles without damage, alter the local gravitational field, change the mineral structure of the soil, encode unknown mathematical theorems, or apply permanent electromagnetic signatures when attempting to replicate crop circles.
Eighty people have witnessed crop circles manifesting in less than fifteen seconds. Many describe a descending tube of light that rotates and bends the plants without causing any damage. These are just some of the anomalies behind the world’s most important phenomenon. Leading expert and best-selling author Freddy Silva discusses these and many more topics in this fast-paced, live presentation from Contact in the Desert.
Now that you know what humans can’t do, discover who can — and why.
REVIEW RESOURCE: https://www.gaia.com/video/cro....p-circles-evidence-i

⁣A documentary alleging that the CDC, the government agency charged with protecting the health of American citizens, destroyed data on their 2004 study that allegedly showed a link between the MMR vaccine and autism.

In 2013, biologist Dr. Brian Hooker received a call from a Senior Scientist at the U.S. Centers for Disease Control and Prevention (CDC) who led the agency's 2004 study on the Measles-Mumps-Rubella (MMR) vaccine and its link to autism.

The scientist, Dr. William Thompson, confessed that the CDC had omitted crucial data in their final report that revealed a causal relationship between the MMR vaccine and autism. Over several months, Dr. Hooker records the phone calls made to him by Dr. Thompson who provides the confidential data destroyed by his colleagues at the CDC. Dr. Hooker enlists the help of Andrew Wakefield, the British gastroenterologist falsely accused of starting the anti-vax movement when he first reported in 1998 that the MMR vaccine may cause autism.

In his ongoing effort to advocate for children's health, Wakefield directs this documentary examining the evidence behind an appalling cover-up committed by the government agency charged with protecting the health of American citizens. Interviews with pharmaceutical insiders, doctors, politicians, and parents of vaccine-injured children reveal an alarming deception that has contributed to the skyrocketing increase of autism and potentially the most catastrophic epidemic of our lifetime.

⁣GLOBAL FASCISM AHEAD - Totalitarians Create Major Shortages and Crisis, and Then They Step In And Pose As Saviours
https://www.epochoriginal.com/the-shadow-state

“The Shadow State,” a feature documentary by The Epoch Times, takes a deep dive into the environmental, social, and governance (ESG) industry. This emerging multitrillion-dollar power structure unites governments with corporations in the march toward a brave new world of climate and social justice. See how it works, its goals, and who is driving it.

Will this new global alliance bring us a cleaner, more peaceful, more equitable future, or will it bring shortages, poverty, and political instability? Will this partnership of government with banking and tech giants deliver prosperity and freedom, or will it control our lives in ways that 20th-century totalitarians only dreamed of?

RESOURCE:https://new.awakeningchannel.c....om/global-fascism-ah
https://www.youtube.com/watch?v=y4IGAE76gqU&ab_channel=TheEpochTimes

⁣Environmental advocates have long protested the role that oil companies play in exacerbating the climate change crisis. Their voices have rattled some of the world's most influential leaders, inspired meaningful reforms, and galvanized a desire for more clean energy solutions. This has led many to believe that the age of Big Oil is on its way out. But according to the feature-length documentary Why Big Oil Conquered the World, its reign has only just begun. The film theorizes that the industry is actually based entirely on the principle of exerting power over the people. Up until this point in history, oil has served as a means to that end.

This thesis begins with eugenics, a Darwin-inspired movement that supported genetic manipulation, and the breeding of new generations that would possess only the most desirable human characteristics. Many members of the elite threw their support behind the study and implementation of eugenics, including John D. Rockefeller, Jr., and their goals soon took on an even more sinister tone. They proposed the isolation, containment and complete control of "subnormal" populations, such as the disfigured, uneducated and impoverished. They lobbied for the power to decide who lived or died.

Their approach might have changed over the intervening years - and their harsh rhetoric softened - but their ultimate goals have remained unchanged. They've simply adopted a more polished public relations image. Meanwhile, the masses are oblivious to their nefarious ulterior motives. The oil oligarchies even worked to hijack the environmental movement, and perverted the message of conservation by suggesting population control as a means of reducing our carbon footprint. In recent years, their vocal support of the Paris Climate Accord has proven equally suspect. Can the culprits behind our current environmental catastrophes really be trusted to free us from them?

At times, the film plays like a science fiction based horror movie, but it provides substantial footage and extensive research in support of even its most outlandish claims. Direct quotes and on-camera sound bytes prove especially damning to the powerful figures at the center of these schemes.
Whether you embrace the film's premise wholeheartedly, or remain skeptical of many of its accusations, Why Big Oil Conquered the World provides a wealth of eye-opening revelations that are worthy of consideration.

⁣110v & 230v Free Energy Generator.
After 7 months of research and development we have created the new "Liberty Engine 2.0". This new free, free and infinite energy motor is made from microwave transformers and a 220v motor, and doubles the power of its previous model. It also has more improvements such as its futuristic design, we have eliminated the transmission through pulleys and belt to reduce friction, noise and vibrations. We have also added the manual pull start that you have recommended so much in the comments, we have added a rotor with a special alloy to eliminate Eddy currents, and thus, eliminate magnetic braking when connecting electrical charges.
In order for the voltage output to be 110 volts instead of 230 volts, we must manufacture it with microwave transformers and a 110 volt motor.
We hope you like it. If so, subscribe, like the video and leave your opinion in the comments. In this way we will be able to continue researching and creating new ways of generating energy.

⁣Is there a secret program behind the technology of the Space Force? Are Navy Pilots engaging E.T. Craft, or is it one of Ours? Dr. Steven M. Greer reveals the secrets behind the cover-up of the False Narrative Alien Threat. Dr. Michael E. Sallapresents Explosive information in regards to the incredible out of this world technology that has been reversed engineered at a Secret Location in Palmdale CA.

Is the New York Times retraction of statements made to "Off World Vehicles recovered Not Of This Earth" An attempt to Cover-Up the biggest Story Known To Mankind? Bob Lazar among others share there Insight to the Most Asked question "Are We Alone" Countdown To Disclosure Opens the Floodgates on information never heard before by the public until now! Buckle Up for a cutting Edge Documentary that will leave you believing we are not been told the truth. Premiered Dec 25, 2020

⁣Recorded at Weltklang Studio Plauen, Germany in November 2018 by the Martin Miller Session Band in one continuous take.
Matthias Proctor - Vocals
Martin Miller - Guitar & Vocals
Nico Schliemann - Guitar & Vocals
Marius Leicht - Keyboards & Vocals
Benni Jud - Bass & Vocals
Felix Lehrmann - Drums
Martin Miller - Audio Mix & Video Edit
https://www.bennijud.com/
http://www.martinmillerguitar.com/
http://www.nicoschliemann.de/
https://www.youtube.com/nicoschliemann
https://felixlehrmann.de/
http://bit.ly/youtube_BIIDmusic_Matth...

⁣The simulated riots in DC was a powder-keg long in the making. The evidence for preplanning and setting up a situation for disaster is overwhelming. In this episode, we're going to show you how a little stage direction and fake blood became an instrumental role in furthering the division of the nation. Strap yourselves in- it's going to be a bumpy ride... down the Rabbit hole.

⁣Daniela's Andrade Music
⁣Listen on Spotify / Apple Music: http://smarturl.it/da-crazy
Stream my new EP 'Tamale' now - https://smarturl.it/da-tamale

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MAILING LIST: http://eepurl.com/b52vfL

⁣FTX, Sam Bankman-Fried's cryptocurrency exchange, exploded onto the scene in just a few years. Endorsed by celebrities and accepted by the establishment, it attracted big-name investors and was valued at $32bn before it collapsed in a matter of days. Regulators fell for it, venture capitalists fell for it, celebrities fell for it - everyone fell for the legend of Sam

Produced, directed and edited by Daniel Garrahan. Filmed by Petros Gioumpasis and Gregory Bobillot. Graphics by Russell Birkett

00:00 - The legend of Sam
03:04 - FT explodes into the mainstream
07:04 - Cracks start to form
10:00 - The fall of FTX
13:58 - "I ended up losing $2.1m"
15:22 - Sam's apology tour
17:33 - Police arrest Sam in the Bahamas
18:34 - FTX's inner circle of power
21:09 - A failure of due diligence
23:29 - Where were the auditors? Where were the regulators?
27:49 - What FTX's collapse means for crypto

I⁣n this interview we spoke with Dr. Peter McCullough, an American cardiologist and outspoken critic of the questionable handling of the COVID-19 “pandemic.”
He is one of the most notable and credentialed voices speaking out in the United States and is a wealth of information. He was vice chief of internal medicine at Baylor University Medical Center and a professor at Texas A&M University, and one of the largest donors to the school, leading to a scholarship named after him. Upon speaking out the university shamelessly attacked him. He is articulate, balanced and a voice of reason.


⁣Watch more full interviews and educate yourself!
https://planetlockdownfilm.com/full-interviews/

⁣People do not understand how hard a jazz musician works for a living. I’m not putting nobody down, but I’m telling you nobody understands how hard jazz musicians work. Jazz is not big in the US, because the States are too worried about Pac-Man and The Police. — Jaco

When Jaco Pastorius uttered the quote above in a typically entertaining and insightful interview withGuitar World from 1983, he meant no disrespect to the members of The Police. It’s safe to say, in fact, that Pastorius significantly influenced crossover subgenres in punk, New Wave, and No Wave, through compositions like “Punk Jazz” — “a real jazz players stab at a brave new music,” writes Guitar World‘s Peter Mengaziol. In general, Pastorius’ music was “a fusion with energy but without overkill.” He absorbed influences from everywhere, and nothing seemed out of bounds in his playing. “I am not an original musician,” he says in the same interview:
I am a thief…. You see, I rip off everything. I have no originals. Only animals and children can understand my music; I love women, children, music, I love everything that’s going in the right direction, everything that flows… I just love music. I don’t know what I’m doing!

It’s not that Pastorius necessarily thought of jazz as a more elevated form than rock or funk or soul or pop — hardly. He regarded Hendrix with the same worshipful awe as he did Motown bassist Jerry Jemmott, and both equally informed his playing and showmanship. Yet he seemed to feel under-appreciated in his time, and that is probably because he was, even though he was acclaimed as one of the world’s greatest bass players during his brief 35 years, and he radically altered the sound of popular music on albums by Joni Mitchell and other non-jazz-world stars.

⁣Alternative channel: https://www.youtube.com/channe....l/UCsiwv99k0t62ARYwD
Contact to Gerard: freenaturalenergy@gmail.com
Everything is reversed from Nikola Tesla.
I challenge everyone to watch this video thoroughly and try and understand what I'm really doing. If you feel you are being tricked, then please explain exactly how.
Go ahead, make my day punks.
Thank you to Kevin MacLeod over at www.incompetech.com for the music.

⁣An alternative take on the 1969 lunar landing presents a different picture of the event that governments may be secretly covering.
Absolute Documentaries brings you the best of entertaining and fascinating documentaries for free. Whether you’re into true crime, stories from around the world, family and social life, science or psychology, we’ve got you covered with must-see full-length documentaries every week.
From: Aliens On The Moon

⁣For most of the naysayers, it wasn't so much the actual music that got their collective goat as it was the way the band portrayed themselves.

“This is a song Charles Manson stole from The Beatles. We’re stealing it back.”
Those were the first words uttered by Bono in the 1988 U2 rockumentary Rattle and Hum before the band ignited a sold-out McNichols Sports Arena in Denver with a rendition of “Helter Skelter” so electric Manson himself might’ve felt its vibes through the walls of San Quentin. Thirty years later, Manson is dirt in the ground and “Helter Skelter” is 12 minutes long on the 50th anniversary edition of The White Album coming out this November. Yet the critical disdain for both the Rattle and Hum film and its chart-topping soundtrack remains the same as it ever was. Upon the release of the Jimmy Iovine-produced album (Oct. 10) and the film (Oct. 27), Rattle and Hum was met with largely complacent and downright hostile reviews.

“By almost any rock & roll fan’s standards, U2’s Rattle and Hum is an awful record,” wrote Tom Carson in The Village Voice. “But the chasm between what it thinks it is and the half-baked overweening reality doesn’t sound attributable to pretension so much as monumental know-nothingness.”
In The New York Times, Jon Pareles accused the band of trying to “grab every mantle in the Rock-and-Roll Hall of Fame” before scowling “what comes across in song after song is sincere egomania.”
“This is a mess with a mission,” wrote David Fricke in his year-end review of Rattle in the Dec. 15-29, 1988, issue of Rolling Stone. “But a mess nevertheless.”
For most of the naysayers, it wasn’t so much the actual music that got their collective goat as it was the way the band portrayed themselves to filmmaker Phil Joanou, who was only 26 when he directed Rattle and Hum (it was his second feature film behind the 1987 high school black comedy Three O’Clock High). At its root, it’s a highly stylized concert film culled from U2’s blockbuster tour in support of their breakthrough fifth LP The Joshua Tree — the album that catapulted Bono, The Edge, Adam Clayton and Larry Mullen, Jr. into a new stratosphere of superstardom. In between performances, however, were scenes of the group traversing through American cities crucial to the fabric of rock n’ roll’s history.

They went to San Francisco to play the “Save the Yuppies” concert in Justin Herman Plaza, where they dazzled the impromptu crowd with a version of “All Along the Watchtower” which served as the perfect middle ground between Bob Dylan‘s original and Jimi’s fiery takeover of the song. They visited Harlem, where they cut a gospel version of their Billboard Hot 100 No. 1 single “I Still Haven’t Found What I’m Looking For” with the New Voices of Freedom choir and caught the renowned street blues duo Satan and Adam busking on 125th St. They headed down to Memphis to visit Graceland and cut some songs at Sun Studio, including “Angel of Harlem” featuring the legendary Memphis Horns and references to Billie Holiday, John Coltrane and Miles Davis, and “Love Rescue Me,” a co-write with Bob Dylan which, along with the Daniel Lanois-produced Oh Mercy, helped many U2 fans get hip with Zimmerman. They also recorded “When Love Comes to Town” at Sun, a song that helped many young U2 fans find their way to the catalog of the song’s soulful co-captain B.B. King and such blues classics as Live at the Regal and Indianola, Mississippi Seeds.

These were the scenes that drew the ire of music critics, who were unfairly convinced that U2’s motives came from somewhere other than honest admiration and appreciation. But for a 14-year-old in 1988 in the first weeks of his freshman year of high school, Rattle and Hum — both the film and its soundtrack — proved to be an eye-opening introduction to music beyond my narrow scope of MTV and rock radio at the time. It was the first time I ever heard about A Love Supreme or experienced the string arrangements of Van Dyke Parks, who along with Benmont Tench on pump organ, provided the sweep of heartbreak that imbues the album and film’s closing number “All I Want Is You,” still very much considered U2’s greatest ballad. I never truly, honestly felt the shimmy of the Bo Diddley beat before I listened to “Desire,” a song that earns the distinct honor of being the first single to simultaneously top the mainstream and modern rock Billboard charts (and scored the group a Grammy in 1989). “God Part II” gave me a deeper appreciation for the solo work of John Lennon, particularly Plastic Ono Band, whose key track “God” U2 were responding to as Bono defends John and Yoko by taking a shot at controversial biographer Albert Goldman with the line — “I don’t believe in Goldman, his type like a curse/Instant karma’s gonna get him, if I don’t get him first.” The atmospheric beauty of “Heartland” — featuring Brian Eno on keyboards — was a perfect gateway to the more esoteric moments on The Unforgettable Fire and The Joshua Tree, especially for someone who went into the Rattle and Hum experience as something of a U2 skeptic.

RESOURCE: https://www.billboard.com/musi....c/rock/u2-rattle-and