One of the better videos on the world population crash...Interesting possible causes

The song formerly known as The Most Mysterious Song On The Internet! has finally been identified & authenticated after a 17-year-long search...

German band, FEX - Subways of your Mind (Like The Wind) (original cassette DEMO version) [1983]




Professor of Rock tells the amazing story:

Good bedtime story.

Why Would A Lieutenant Remove All of His Own Teeth...

Quote:This collection of ancient mysteries challenges our understanding of history. Explore a possible underground city in the Grand Canyon, rumored to be filled with ancient artifacts and enigmatic writings that defy explanation. Discover the alleged subterranean world of Agartha, where a technologically advanced society might reside beneath our feet, untouched by time. Consider the theory of a hollow Earth, supported by anomalies in seismic data and strange compass readings from the past. Learn of lost continents and advanced prehistoric cultures that raise questions about humanity's origins and the knowledge we've lost over millennia. Each story offers a glimpse into a world where myth and reality intertwine, urging you to question what lies beneath our known world.

G'day Cobras (mates),

I'm following news on the intense fire over your way, during your winter, 'mind you'.

These are wild fires, not seen before, out of season, from what I read.

True love and I have survived several in our 12th year here, inclusive of 2019 where up to 85 dwellings burnt down in our little village not to mention the devastation across our continent.

After the 2019 fires I never thought our bushland would recover, (Black sticks and dust.  Melted metal) but it did.  Took a few years but now I'm surrounded by Australian bush again.  Even thicker.  That is the Aussie bush.  Unique.  Bushfire and termite resistant in the short/long term. 

For context in this otherwise lengthy post my caveat will be I am expressing my own opinion from my self knowledge and experience.  If I repeat some things it is important.

   

It's forever green growth here except for pasture during drought.    Most tall trees here are a variety of Eucalypts.  I've named them before so I won't go into detail.  Others are huge native pines and a fair amount of wattles, paperbark melaleucas, bottlebrush and cycads.  (pretty colourful flowers all good for bees).

If you don't maintain them and/or thin them they can in return reward you with a firestorm because, fire is how they survive or regenerate.  Known fact.  (Aussie pastures are the same, eg: Kangaroo grass or spear grasses.) 

My reasoning:- 

It's Australian Flora.

I have luckily been educated over many years by real down to earth aboriginals in the deserts and other parts inclusive of Northern and Southern regions, Hot to Cold.  I could go on but I'll attempt to summarise because it will take me pages.

Simply put, Francis "Jabarula" Kelly and Tommy "Tjungala" Rice explained it to me in the Tanami as thus. (Aboriginal Elders)

"Tjungala (me being a Tjungala too) , what the old ones (ancestors) did to survive they moved with the seasons, reading the stars, sun and moon. (me, juvenile, looking and thinking 'yeah righto'). Pintubi and Warlpiri (tribes) went to their lands (Gibson and Tanami) moving around.  When they arrived at a waterhole they immediately burnt the ground in their camp.  This scattered the animals which they hunted. It also made it safe to camp from the spiders, snake and thorns. (Spinifex).  They hunted, cleaned that area, drank from waterhole and moved on when that season started changing.  Everything went in to the ground. (biodegradable). Then they burnt again where they had lived.  They went to next waterhole with their fire and after that many walking time they did the same.  Around and around.  Sometimes many time in the year.  When they returned to the original camp it was all ready again with fresh growth and those animals."  (Yearly cycle depending on the tribe and lands).

A most important aspect here is the use of fire and it's subsequent effect over 60,000 years as far as we know.  This coupled with the smallest continent's isolation during millennia, pre human history if you like brought to life Australia's unique Flora and Fauna. Isolation, is the key word.  Nothing changed. A cycle of life if you will where the challenges, especially with regards to flora surviving, determined the species. Seasonal.  The bush adapted to living so developed a method of seeding that led to regeneration through fire.  So good in fact that introduced species have little hope of surviving. Inclusive of new arrivals of animals and humans who cannot comprehend the Aussie bush, rural, urban, suburban etc.  They, the colonists, rodents and the like must adjust and adapt.

Which brings me to the part 2 of this explanation as to why LA and surrounds burnt like it did.  If you grow Eucalypts and the like because they are hardy, attractive, strong and high strength you must tend to those plants.  Good that they tend to thrive in harsh climates but they are used to thriving during a forest fire in an Australian summer which if you think about it, equates in hemispherical terms, to a dry winter in that northern portion of the Earth.  In Part 2 I hope to explain why Eucalypts and the others explode, burn to the core, yet still survive.  The is a point to all this.  If you wish to propagate Aussie flora, then learn the lessons. In saying that, they still haven't here.  These are my thoughts.

Kind regards and going to hit the farter, will update on the morrow.

Bally)

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What to expect once and if Trump takes office as POTUS on the 20th

Quote:SpaceX CEO Elon Musk is calling for NASA to ditch its Artemis program, arguing that the "Moon is a distraction" and that "we're going straight to Mars" instead in a recent tweet — and directly contradicting the agency's long-established plans.

In a separate tweet on Christmas Day, Musk  accused the space agency's Moon program of being "extremely inefficient as it is a jobs-maximizing program, not a results-maximizing program."

The broadsides once again highlight the mercurial entrepreneur's obsession with establishing a city on Mars, a starry-eyed vision he wants to see facilitated by his space company's next-generation heavy-lift rockets.

And while the idea of ditching the Artemis program — which was officially formed by Musk's new ally, president-elect Donald Trump, in 2017 — seems bafflingly counterintuitive and shortsighted, his emboldened calls to skip the Moon can't be dismissed given his immense new influence.

Musk now holds huge sway not only over the fate of his many businesses, but the political landscape as well, most recently helping Trump win the election and even playing a major role in the torpedoing of a US Congress funding bill last month.

Consequently, the South African billionaire has been put in charge of a so-called "Department of Government Efficiency" to excise $2 trillion from the national budget. Whether this advisory group will be able to take aim at the Artemis program remains to be seen.

Nonetheless, now that Musk has a significant foothold in Washington, DC, NASA's efforts to land the first astronauts on the surface of the Moon before the end of this decade could be in serious trouble — or at least look dramatically different after some high-powered meddling.

What's perhaps most likely, at least in the short term, is that instead of scrapping NASA's plan, the Trump-Musk alliance could make significant adjustments instead, perhaps by ditching the agency's expensive and inefficient Space Launch System in favor of SpaceX's reusable Starship or Blue Origin's New Glenn rocket, as Ars Technica's Eric Berger suggests.


One unknown is NASA's incoming administrator Jared Isaacman, a billionaire and private astronaut who has been to space twice with the help of SpaceX — but who so far has expressed support for NASA's existing lunar gameplan.

In a statement Isaacman tweeted following his nomination, the billionaire proclaimed that "Americans will walk on the Moon and Mars and in doing so, we will make life better here on Earth."

That vision directly contradicts Musk's desire to aim our sights exclusively at Mars, a striking difference in tune that will be fascinating to watch play out.

Will Trump's administration and Isaacman bend the knee, calling off upcoming Artemis missions — or will it be a matter of appeasing Musk's plans while simultaneously pursuing American boots on the Moon?

Chances are, we'll have to wait quite some time until we get a definitive answer. The Artemis program has formed an intricate web between NASA and its private contractors, SpaceX included, which likely can't be ripped apart or burned down overnight.

Quote:Ars: Do you think it's appropriate for the next administration to review the Artemis Program?

Bill Nelson: Are you implying that Artemis should be canceled?

Ars: No. I don't think Artemis will be canceled in the main. But I do think they're going to take a look at the way the missions are done at the architecture. I know NASA just went through that process with Orion's heat shield.

Bill Nelson: Well, I think questioning what you're doing clearly is always an issue that ought to be on the table.  But do I think that they are going to cancel, as some of the chatter out there suggests, and replace SLS with Starship? The answer is no.

Ars: Why?


Bill Nelson: Put yourself in the place of President Trump. Do you think President Trump would like to have a conversation with American astronauts on the surface of the Moon during his tenure?

Ars: Of course.

Bill Nelson: OK, let me ask you another question. Do you think that President Trump would rather have a conversation with American astronauts during his tenure rather than listening to the comments of Chinese astronauts on the Moon during his tenure?

My case is closed, your Honor, I submit it to the jury.

Ars: You've had a long relationship with Elon Musk. I think some good, some bad. And I'm just wondering how comfortable you are with the role he's playing, advising the incoming president on space policy, given that SpaceX is integral to what NASA is doing, and there's some pretty clear conflicts of interest there.

Bill Nelson: I have not had any bad experiences with Elon vis-à-vis our space program. I have always said to him, and I've said it to him at least twice personally, that SpaceX's success on the lander is NASA's success, and SpaceX's success on the lander is America's success. I have a great relationship with Gwynne (Shotwell), and I think it's a tribute to Elon that he lets her run SpaceX.

Now that's my professional relationship with Elon. I have not ventured in a relationship with him with regard to what you're referring to in his conduct in an election and the future. I will venture to say that as to the future of NASA, since I am basically an optimist by nature, I believe that at least for the human program going to the Moon and then eventually to Mars, I think that Elon, with his personal relationship with the president-elect, can make sure that NASA has the money to accomplish that. And for that reason, I am optimistic.

As I have looked at the different beliefs around the world with an open heart and an open mind, and with this perspective of loving others as myself while not only researching these beliefs, but also experiencing some of them myself through their different "practices," something keeps becoming more and more clear.

They actually all align if we look at some of them through the symbolism.

In all this world view of beliefs, and from one country to another, one belief system to another, and being one who has a gift of noticing patterns and following sequences, it is abundantly clear that all of these different views of creation and even God all share similarities. So much so, that I've noticed that it's damn near the same story, just told through different cultural eyes.

This video is the entire Cherokee story of creation, as well as a lot of their beliefs about God. 

The video is very relaxing and soft toned and done with a pleasant presentation, and a real persons voice; or at least i think it is (really hard to tell these days). I do believe if anyone approached this with an open mind, while disregarding all of the stereo types, all the programmed propaganda, and simply look at this as beliefs that are as sacred as your own, you will see that we all pretty much believe in the same thing. This video even shows how this shared belief(s) can be traced all the way back to the Egyptians, and their "weighing of the heart to the feather" upon death. We all believe relatively the same thing when it comes to creation, and the Truth of where we all came from, and the purpose of it all.

It's worth the 40mins. This came from a gnostic library, but this is the types of information that can expand our collective consciousness; if not only our own. Notice how many similarities there are, even if just on a symbolic level, to your own faith and beliefs.
The Cherokee have a beautiful story of how the viewed the creation of the world. I really enjoyed this, and am glad i watched.





This is just another version of the same story told across the world.
In a world full of different stories about creation its pretty amazing how much they all share in common. It sort of shows how much we all have in common.
Somehow, someway, and obviously by something higher and greater than ourselves, we have all been "created."

Everyone here should be familiar with the saying attributed to Murphy.

Quote:Murphy's law[a] is an adage or epigram that is typically stated as: "Anything that can go wrong will go wrong.".

Quote:In early 1942, with America still reeling from the attack on Pearl Harbor, Hollywood mobilized for war. Soon, silver-screen luminaries like Jimmy Stewart and Clark Gable were pinning wings to their lapels, making the roster of the U.S. Army Air Forces look like the opening credits of an MGM blockbuster. And while Tinseltown bristled with shiny new uniforms and all-too-perfect smiles, neighboring Toontown was also banging the proverbial drum. From Walt Disney to Warner Bros., the animation studios were letting slip the dogs — and ducks — of war. Donald, of course, was a natural recruit (he’s a sailor, after all). The feathered hero saw action in the jungles of Asia, braving snipers and ravenous crocodiles to single-wingedly wipe out an enemy airbase. Not to be outdone, Daffy proved that he too was a bird to be reckoned with. In 1943, the fowl-mouthed mallard parachuted commando-style behind German lines to wage unholy and untranslatable havoc. Others followed suit: Popeye punched Nazis, Superman sunk ships, and Bugs Bunny peddled war bonds. For these veterans of paint and light, it was a merry war, a loony war, and for none so much as for the army’s secret mascot: Private Snafu.

Every G.I. worth his creamed chipped beef knew the acronym, but when it first appeared on the barracks screen in a cartoon titled Coming! Snafu! in June of 1943 — the first of twenty-seven such films produced between 1943 and 1945 — the boys were greeted with a more wholesome interpretation: “Situation Normal, All . . . Fouled Up!” Even watered down, this would seem a curious mantra for a series of training films aimed at preparing enlisted men for the challenges of modern world warfare — that is, until one meets the protagonist. Introduced, tongue-in-cheek, as “a patriotic, conscientious guy who thinks the army’s swell,” Private Snafu is a short, bald, motor-mouthed Brooklynite with a penchant for catching tropical diseases, leaking classified information, and accidentally blowing himself up. He is, in sum, a shining example of what a soldier should not be, and he stands as a testament to how the military brass evidently viewed G.I. Everyman: naïve, careless, and perpetually horny.



The cartoons were the product of an extraordinary collaboration. During the Second World War, the production of propaganda and training films fell to the First Motion Picture Unit, a motley crew of actors, artists, writers, and filmmakers under the supervision of Hollywood director Frank Capra, that champion of small-town American values who had already given the world Mr. Smith Goes to Washington (1939) and would go on to direct It’s a Wonderful Life (1946). As the ringleader of this circus, Major Capra — later Colonel Capra — oversaw not only the Snafu shorts but also the highly successful Why We Fight series, which would win him an Academy Award for “Best Documentary” in 1943. Typically, these projects were outsourced to local studios with the necessary time and resources at their disposal. When it came down to finding a group of animators willing to take on Private Snafu, Disney proved too expensive and too dictatorial, and so the contract went to Leon Schlesinger’s Warner Bros. Cartoons studio. At the time, the boys of “Termite Terrace” (as the studio was known) were still relatively obscure. In retrospect, though, the talent roster behind the Snafu cartoons reads like a pantheon of animation icons: Chuck Jones, Friz Freleng, Bob Clampett, Frank Tashlin, and the “Man of a Thousand Voices” himself, Mel Blanc. Into this mix, add Theodor Geisel (a.k.a. “Dr. Seuss”), then working as a political cartoonist for the leftist New York newspaper PM, and the merry mashup is complete.

With so many dangerous minds on the job, it’s little wonder that work on the cartoons was carried out in the utmost secrecy. The security measures, which divided up production duties among different departments whose individual workers were not permitted to see the finished films, make the Warner Bros. operation look like a parody of the Manhattan Project. But in spite of the hush-hush atmosphere, the subject matter seems harmless enough on the surface. The twenty-six surviving episodes — all black-and-white — run the gamut of military safety topics: everything from how to maintain proper hygiene in the field, to what to do when faced with a squadron of malarial mosquitos, to why it’s simply not a good idea to go skipping through a mine field. In Bob Clampett’s Fighting Tools (1943), for example, Private Snafu learns that keeping his rifle muzzle-down in the mud can lead to a sticky situation when caught off guard by a Wehrmacht patrol. Similarly, in Chuck Jones’s Gas (1944) — an episode in which Bugs Bunny makes a brief cameo — Snafu learns the value of keeping his gas mask handy when poisonous clouds of Teutonic nastiness catch him napping under a tree.



Other cartoons foreground the challenges of working in exotic climes, such as Jones’s (ironically-titled) In the Aleutians — Isles of Enchantment (1945) and Freleng’s Hot Spot (1945), which finds Snafu humping it out in the deserts of occupied Iran. Still others focus on the basic necessities, like keeping a proper diet on the march. In Frank Tashlin’s bizarre The Chow Hound (1944), the ghost of a slaughtered bull presides over its own devouring, growing furious as the puerile private throws out perfectly good chunks of carcass. The moral: don’t waste chow. It dishonors the beasts who nobly volunteered to be “processed” for the cause.

Although such cock-and-bull stories may have had the desired effect of teaching soldiers the facts of military life, this didactic function obscures a more crucial one, that of providing an outlet for resentment while simultaneously defusing popular misconceptions, like the rumor that other branches of the service are safer and more glamorous (Three Brothers, 1944) or the nagging suspicion that everyone back home is having a ball while the grunts are out risking their lives (The Home Front, 1943). In effect, these cartoons are a form of officially sanctioned subversion, a kind of Foucauldian pressure valve designed to vent the average soldier’s discontent, releasing just enough anarchic energy to keep the system functioning. Take, for instance, Gripes (1943). Directed by Freleng, this short opens with Snafu on kitchen patrol, scrubbing pots, peeling potatoes, and, well, griping:

Quote:I joined this here army to join in the fun,
A-jabbin’ the Jap and a-huntin’ the Hun.
And look at the job that they handed to me:
KP, KP, KP, and KP!

After cataloguing more woes of army life — long lines, longer needles, and endless hours in the infirmary — the soldier’s thoughts turn to mutiny. Fortunately, Snafu’s imagined rebellion is interrupted by his personified military conscience: the gravely-voiced, cigar-smoking, perpetually five-o’clock-shadowed Technical Fairy, First Class. This cuddly sergeant with wings plays an avuncular role in the cartoons, managing, on occasion, to prevent the private from dismembering or otherwise making a fool of himself.




In this case, the Technical Fairy shows Snafu a vision of what would happen if he were in charge. Upon receiving his fantasy promotion to “Master-Sarge-Super-Sarge-Whoopity-Doo,” Snafu proceeds to issue a series of dictums. No more cleaning latrines. No more discipline. Instead, each enlisted man will be provided with “two dames” and an extended leave pass. As charming as this image of state-sponsored prostitution may be, it all goes pear-shaped when the Germans make a surprise attack. With his troops intoxicated and the Luftwaffe bearing down, Snafu decides it’s better to take a needle in the tuckus than an incendiary bomb where the stars and stripes don’t shine. The fantasy dissolves. Hierarchy is restored. And while the private happily scrubs his pots and pans, the Technical Fairy dishes out wartime ethics: “The moral, Snafu, is the harder you work, / The sooner we’re gonna beat Hitler, that jerk.” Many of the Snafu shorts follow a similar pattern: the activation of dangerous desires, which are then disarmed by the narrative logic of the cartoon itself.

This form of vicarious indulgence is also evidenced by the films’ rather frank depictions of sexuality, which were more — shall we say — developed than one would expect from cartoons of that era. Because military films did not have to be approved by the Hays Office — the body responsible for enforcing the Motion Picture Production Code — the animators could push the boundaries of adult humor in ways that conventional Hollywood could not. In addition to suggestive language, the cartoons abound with buxom cabaret dancers, eager girls-next-door, and mysterious femmes fatales. These virtual pin-up queens, clearly intended to appeal to a G.I. aesthetic, invite a curious sort of voyeurism. From a contemporary perspective, this peephole on the past can be a bit disturbing; watching a seventy-year-old image of a cartoon vixen bending over her vanity table in nothing but a garter belt, one suddenly has the uneasy realization that one is ogling the grandmother of Jessica Rabbit. But for the lonely soldiers who first saw these films, representations of women served simultaneously as erotic outlets and warnings against being distracted by long legs and batting eyes. For example, in Booby Traps (1944), directed by Bob Clampett, we find our hero in the desert “liberating” a local harem. The only problem is that this bevy of bombshells is actually a nest of homicidal fembots whose curves are (quite literally) explosive.



In Snafu’s world, women — with the possible exception of one’s mother — are not to be trusted. Indeed, the only long-term relationship that seems to work out is the odd rapport between the private and his Technical Fairy. On at least one occasion, the happy ending culminates with an image of Snafu and his imaginary NCO engaged in a big, wet kiss. (Don’t ask. Don’t tell.)

Each of these overarching themes — the preservation of bodily integrity, the mitigation of resentment, and the negation of female sexuality — boils down to one predominant concern: containment. And of all the tropes of containment found in the cartoons, the most persistent is the control of information. With titles like Spies (1943), Rumors (1943), and Censored (1944), the Snafu films present a primer on keeping one’s mouth shut. Of these, Chuck Jones’s Spies is the most memorable. Composed in Seussian verses, Spies finds the loquacious private home on leave with a head full of confidential plans regarding troop deployments to Africa:

Quote:I just learned a secret—
      It’s a honey, it’s a pip!—
But the enemy is listening,
      So I’ll never let it slip.
‘Cause when I learn a secret,
      Boy, I zipper up my lip!

The enemy is indeed listening. And Snafu, chronically unable to keep his zipper up in any situation, goes about unaware of the sinister stereotypes — beefy Teutons, toothy Japanese, and alley cats with gingivitis — who are poised to pick up scraps of intelligence. Stopping at a newsstand, Snafu greets the pornography-peddling proprietor — “Hey, give me some magazines to read for when I’m on the ship!” — and his careless words are overheard by three bystanders who look suspiciously like Benito Mussolini, Hermann Goering, and Fumimaro Konoe.




“Don’t breathe a word to no one,” they chant, “but he’s going to go by ship!” Cut to Snafu at the local watering hole, where a heady combination of booze and broads erodes the “pad-a-lock” in his brain, releasing a gush of useful information into the ready lap of a femme fatale who packs a mini-typewriter in her garter. “Say, you’re a nifty trick,” he drunkenly tells her. “I hope I meet some babes in Africa as cute as you are!” Later, in her lair, Snafu manages to drop a final, crucial detail —

Quote:It’s been a wonderful evening,
      And I’d like to stay some more,
But I gotta get a move on—
      I sail at half past four!

— at which point the Aryan beauty’s breasts transform into swastika-shaped radio transmitters with a direct line to the Führer, who, upon receiving these titbits, dispatches a pack of U-boats to intercept the transport. The ship is torpedoed, and the private finds himself in a fiery cauldron lorded over by a hellish Hitler. Apparently, not even a guardian fairy can prevail over the uncontrollable desire to self-destruct, a compulsion that wends its way through the cartoons with the obstinacy of a death drive.





For all their preoccupation with secrecy, however, one still wonders why the cartoons themselves were kept confidential. What was so dangerous about personal hygiene? Did it really matter if the Germans found out that U.S. servicemen were being encouraged to keep information from the Germans? In short, what was the big secret? As it happens, there was a big secret — a really big secret — but one unknown to the directors, writers, and artists who inadvertently let it slip. In May of 1944, Jones and his team produced Going Home. Penned (most likely) by Geisel, the cartoon was intended as yet another warning against loose lips on leave. Upon arriving back in his hometown, Snafu proceeds to regale a succession of family members, girlfriends, bartenders, and gas station attendants with tales of Allied maneuvers, new landing field designs, and other “restricted stuff.” Then — in one of those cosmic coincidences that reaffirm one’s belief in God, Loki, or the Illuminati — the cartoon takes a singularly prophetic turn. Snafu brings a date to the local movie theater, where a newsreel flashes: “U. S. SECRET WEAPON BLASTS JAPS.”



The headline is followed by an image of an island reduced to a void, like a wound in the water. Snafu grabs his girl and whispers (loudly):

Quote:I know what did it —
What made the big hole —
Our new flyin’ bazooka
With radar control.

As the imprudent private gives a rundown of the weapon and its features, the viewer sees a vaguely familiar image, more bomb than bazooka, with mysterious valves and menacing fins.