fuck off show
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"I told you we were gonna come back!" Patrick Stump said, playfully chiding the hometown crowd packed into the narrow, sweaty confines of Chicago's Subterranean club on Monday evening. "Why didn't you believe me?"
The capacity crowd had good reason to doubt that last night would ever come: in the three years since Fall Out Boy went on hiatus following their 2008 album Folie à Deux, each member of the pop-punk outfit continued to release new music – Stump put out the solo albu Soul Punk, Wentz went with his reggae-infused outfit Black Cards and Trohman and Hurley formed the Damned Things – but all made it a point to shoot down any rumors that their most band was, or would ever be, back in the saddle. (Wentz, usually the most loose-lipped of the bunch, kept his poker face until the bitter end: when theChicago Tribune sked him last weekend whether a Fall Out Boy reunion was happening, he replied "It's not.")
That changed on Monday morning when Fall Out Boy issued an unexpected press release announcing a new studio album Save Rock N' Roll, that's due May 7th, a tour and a last-minute string of intimate shows starting last night in Chicago. The band als released a new single, "My Songs Know What You Did in the Dark (Light Em Up)," to which nearly every fan seemed to know the words when the band played it live for the first time.
The crowd was on the brink of hysteria when Fall Out Boy took the stage just after 9 p.m., galloping triumphantly down a winding stairwell as "Thriller" blared overheard. "Hey Chicago, you guys all look pretty damn good right now!" shouted Stump, wearing a black leather jacket and matching hat and glasses so that he could see "how beautiful everyone was."
With little fanfare, the band quickly launched into the pummeling rock riot of "I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me." The band didn't leave the audience much time to catch their breath, peeling off hits in quick succession, including quot;A Little Less Sixteen Candles, a Little More 'Touch Me,'" "Dead on Arrival" and "This Ain't a Scene, It's an Arm's Race."
The middle of the set seemed intended to please the diehards, many of whom had waited for hours in the blistering cold for a chance to see their heroes in such close proximity. Stump announced the band would be going "rapid-fire" with older, more rare material, then led the charge into a medley of lesser-played tunes that included two of the band's earliest numbers, "Honorable Mention" and "Calm Before The Storm."
All night the foursome acted as if no time had passed since they last played live together in 2009, and their onstage rapport was laid back."This is an experience. This is an adventure. This isn't for your fuckin' Facebook," Wentz deadpanned at one point in the evening. Added Stump with a smirk, "Today is kind of a big deal for us.”
There were occasional cobwebs from the band's three-year break: Hurley and Trohman briefly fell out of sync during "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)," and Stump admitted to the crowd that he was struggling to remember all the lyrics to the band's extensive catalog.
Those glitches aside, the band seemed as thrilled as the audience that Monday night was the start of Fall Out Boy's next chapter Wentz couldn't hide his excitement: late in the set, before leading his band into a cover of Michael Jackson's quot;Beat It," followed by their biggest hit "Sugar, We're Goin Down" and a killer encore that included "Thnks Fr Th Mmrs" and "Saturday," the bassist gazed out at the crowd and said, "You guys feel so fucking awesome!"
Set list
"Thriller"
"I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me"
"A Little Less Sixteen Candles, a Little More 'Touch Me'"
"Dead on Arrival"
"This Ain’t a Scene, It’s an Arms Race"
"Nobody Puts Baby in the Corner"
"I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)"
"Tell That Mick He Just Made My List of Things to Do Today"
"Grand Theft Autumn/Where Is Your Boy"
"Hum Hallelujah"
"Dance, Dance"
"Honorable Mention"
"America’s Suitehearts"
"Calm Before the Storm"
"What a Catch, Donnie"
"The Take Over, the Breaks Over"
"I Don't Care"
"My Songs Know What You Did in the Dark Light (Light Em Up)”
"Sophomore Slump or Combeack of the Year"
"Beat It"
"Sugar, We're Goin Down"
Encore:
"Chicago Is So Two Years Ago"
"Thnks Fr th Mmrs"
"Saturday"
The live version makes me love this song more.
CBS was number one with adults 18-49 and with total viewers.
On CBS, How I Met Your Mother earned 4.0 adults 18-49 rating up 8 percent from a 3.7 on January 21. The season premiere of Rules of Engagement garnered a 3.1 adults 18-49 rating, down 14 percent from a 3.6 for its previous season premiere on Thursday, October 20 but up 48 percent from a 2.1 for its season finale on Thursday, May 17. 2 Broke Girls scored a 3.6 adults 18-49 rating down 3 percent from January 21’s 3.7. Mike & Mollynotched a 3.1 among adults 18-49 down 6 percent from a 3.3 on January 21. Hawaii Five-0 scored a 2.3 adults 18-49 rating , even with January 21.
On Fox, Bones earned a 2.3 adults 18-49 rating down 12 percent from last week’s 2.6. The third episode of The Following scored a 2.9 among adults 18-49 down 12 percent from last week’s 3.3. Your predictions were too optimistic.
On ABC, The Bachelor garnered a 2.4 adults 18-49 rating down 4 percent from last week’s 2.5. Castle earned a 1.8 among adults 18-49 down 10 percent from a 2.0 on January 21
On NBC, The Biggest Loser earned a season low 2.0 adults 18-49 rating down 13 percent from last week’s 2.3.Deception notched a 1.2 adults 18-49 rating, even with last week’s series low.
On the CW, The Carrie Diaries garnered a series high 0.7 adults 18-49 rating up 40 percent from last week’s 0.5.90210 earned a 0.4 adults 18-49 even with last week.
Broadcast primetime ratings for Monday, February 4, 2013:
Time | Net | Show | 18-49 Rtg/Shr | Viewers (millions) |
8:00 | CBS | How I Met Your Mother | 4.0/11 | 10.32 |
ABC | The Bachelor (8-10:00PM) | 2.4/6 | 7.80 | |
NBC | The Biggest Loser (8-10PM) | 2.0/5 | 5.76 | |
FOX | Bones | 2.3/6 | 9.02 | |
CW | The Carrie Diaries | 0.7/2 | 1.55 | |
8:30 | CBS | Rules of Engagement - Season Premiere | 3.1/8 | 9.33 |
9:00 | CBS | 2 Broke Girls | 3.6/9 | 11.21 |
FOX | The Following | 2.9/7 | 8.92 | |
CW | 90210 | 0.4/1 | 0.79 | |
9:30 | CBS | Mike & Molly | 3.1/8 | 10.70 |
10:00 | CBS | Hawaii Five-0 | 2.3/6 | 9.63 |
ABC | Castle | 1.8/5 | 8.77 | |
NBC | Deception | 1.2/3 | 3.12 |
The 32nd annual Oscar nominees luncheon took place Monday in the International Ballroom of the Beverly Hilton. Hosted by the Academy of Motion Picture Arts and Sciences' Board of Governors, the event drew an impressive 163 of this year's Oscar nominees -- including A-listers such as Ben Affleck (Argo), Steven Spielberg (Lincoln) and Denzel Washington(Flight) -- all of whom were assigned seats at one of several dozen tables alongside nominees from categories other than their own, as well as a few lucky journalists. They eventually posed for a "class photo" together before picking up their official Oscar nomination certificate and a gift bag that included an "Oscar Nominee" sweatshirt.
(I was seated at table 33 along with Benh Zeitlin, best director and best adapted screenplay nominee for Beasts of the Southern Wild; Graham Taylor of WME Global, who reps Zeitlin;Espen Sandberg, director of best foreign language film nominee Kon-Tiki; John Bailey, the Academy's cinematography branch governor; and Robert Richardson, best cinematography nominee for Django Unchained, who no-showed.)
Arriving guests were greeted at the bottom of the Hilton's long driveway by peaceful protestors from the National Religious Campaign Against Torture (which handed out flyers asserting "Zero Dark Thirty is a work of fiction that depicts graphic acts of torture" and "the movie's implication that the use of torture produced critical intelligence is inaccurate"), and at the top by hordes of roped-off fans seeking autographs and photographs (many guests paused on their way in to the event to greet them).
Inside the room, guests walked by the DJ booth, which was manned throughout the afternoon by none other than a headphones-clad Frank Marshall, the five-time Oscar-nominated producer and music lover. When I asked Marshall how he wound up with the job, he told me, "I couldn't get into the luncheon any other way this year!" (Not entirely true, as his wife,Kathleen Kennedy, is a best picture nominee for Lincoln.) It was fun to watch guests walk by him and light up with amazement upon recognizing him. One remarked, "Amazing! Raiders of the Lost Ark and everything!"
After a cocktail hour during which nominees got to mingle with each other over drinks, the Academy's new president, Hawk Koch, welcomed guests. He then called this year's nominated films "the best crop of movies in memory" and acknowledged the honorees from December's Academy Governors Awards (Hal Needham, George Stevens, Jr. and JeffreyKatzenberg were in the room, but D.A. Pennebaker couldn't make it); the past Academy presidents (Walter Mirisch, Arthur Hiller, Sid Ganis and Tom Sherak were among those present); the Academy's Board of Governors (Zero Dark Thirty director Kathryn Bigelow and Lawrence of Arabia film editor Anne V. Coates being two of them who were there); and the Oscars production team (including veterans Don Mischer and Michael B. Seligman).
Koch then briefed the audience about the producers of this year's Oscars, Neil Meron andCraig Zadan, who he said came to him in a dream as the perfect choice for the gig due to their experience with live productions (on Broadway), televised productions (they exec-produce NBC's Smash) and films (they executive produced 2002's best picture winner, Chicago, and have produced numerous other films). He said that when he called them to offer them the job, they reminded him that they had produced the movie The Bucket List and divulged that producing the Oscars had long been at the top of theirs.
Meron and Zadan then took the stage and teased that the 85th Oscars ceremony, which will take place Feb. 24, is "going to be a celebration of the great work you've done, and it's also going to be a throwback to the origins of the Oscars." They said that, consistent with their musical roots, music will be a big part of the show and noted that Barbra Streisand will be performing on the show for the first time in 36 years, which elicited loud applause. They also made the annual request for brevity from winners: "We honestly need your help to keep the pacing of the show quick," Meron said. They stated that winners need to get to the stage quickly; co-nominees must designate, in advance of the show, one individual as the speaker on behalf of them all in the event that they win; and that winners will have no more than 45 seconds onstage before they are played off by the orchestra. Zadan urged, "Please speak from the heart, not from a piece of paper," and added, "Remember, you're speaking to over a billion people in over 225 countries," prompting nervous whispers from guests, who then resumed eating their salmon or table-hopping.
After a while, a voice-over announcer introduced a video narrated by last year's best supporting actress Oscar winner Octavia Spencer, which featured clips of classic films and closed with the congratulatory message, "You are now recognized around the world as part of this history." Then, Koch stepped in front of a large set of bleachers that had been arranged to the side of the stage, and Academy COO Ric Robertson began reading the names of this year's nominees -- not in alphabetical order, as in years past, but instead in random order -- who then came up to the stage, shook Koch's hand and got in position for a group photograph.
Journalists and publicists in the room carefully monitored the volume of the applause with which each nominee was greeted, as that has sometimes proven to be an accurate barometer of support from the entire Academy. For the roll call, I situated myself in the center of the room and, by my ear, the loudest applause was for the second-to-last person called, the youngest person ever nominated for a best actress Oscar, 9-year-old Quvenzhane Wallis (Beasts of the Southern Wild), and the second-loudest was a tie between the last person called, best director nominee Spielberg, and best actor nominee Hugh Jackman (Les Miserables).
It's dangerous to read too much into such things, but it struck me that best picture nominee Affleck, who was denied a best director Oscar nom but whose film has swept all of the major awards thus far, received only average applause, whereas the principal people associated wit Lincoln, which received the most Oscar nominations this year but has not yet won any major awards, received louder-than-average welcomes, including best supporting actor nomineeTommy Lee Jones, best supporting actress nominee Sally Field, best adapted screenplay nominee Tony Kushner, best cinematography nominee Janusz Kaminski, best film editing nominee Michael Kahn and best costume design nominee Joanna Johnston. (Best actor nominee/frontrunner Daniel Day-Lewis was unable to attend the event.)
Others who received noticeably loud receptions: best supporting actress nominee Amy Adams (The Master), whose nom this year is her fourth in the last seven years; best picture -- but not best director -- nominee Kathryn Bigelow (Zero Dark Thirty); best supporting actor nominee Robert De Niro (Silver Linings Playbook); best original score composerAlexandre Desplat (Argo); and Life of Pi visual effects nominees; best supporting actress nominee Anne Hathaway (Les Miserables), who got a kiss from Jones as she passed him on her way up the bleachers; best cinematography nominee Seamus McGarvey (Anna Karenina); and best actress nominee Naomi Watts (The Impossible).
The most memorable of the many encounters that I witnessed during the afternoon was when Wallis' mother brought the young actress, who had been chatting with her tablemate Spielberg (even though she has not yet seen E.T., she told me), over to meet Washington. He initially asked her, "What's your name? Are you up for an Oscar?" She replied "Yes, best actress," and he asked her for what. When she told him, he exclaimed, "Ohhhhhh! Your hair was all wild!" He asked her, "How's all this been for you? Do you miss school?" She replied, "Not really," prompting hearty laughter. And, after posing for some photos together, he said, "Well, very nice to meet you!"
Other good sports included best director/best adapted screenplay nominee David O. Russell (Silver Linings Playbook), who high-fived several of the nominees as they passed him on their way to the stage, including Lincoln's Kaminski and Django Unchained producer Pilar Savone; best animated short nominee/The Simpsons animator David Silverman (Maggie Simpson in "The Longest Day"), who signed autographs and sketched Bart Simpson for fans for something like 20 minutes on his way out); and best documentary feature nominees Dror Moreh (The Gatekeepers) and Malik Bendjelloul (Searching for Sugar Man), who may be competing in the same category and have the same distributor, Sony Pictures Classics, but who hung out together for much of the afternoon (Moreh told me, "We like each other!").
Interesting that Naomi got more applause than both Jennifer and Jessica. It supports the theory that she's the Academy's favorite, as she has a long resume and lots of friends among the voters, and the two front-runners are considered too 'green' for the award. Also, can you imagine if Hugh pulled an upset and won over DDL?! This award season is so exciting.
source: 1,2,3
The 2013 Super Bowl featured the Sandy Hook chorus, Jennifer Hudson, Alicia Keys, Beyoncé, a whole bunch of advertisements and, oh yeah, a football game. While things were not as overt and in your face as last year’s half time show/celebration of Great Priestess Madonna, there were nevertheless a a lot of Illuminati Agenda-pushing going on. Here’s a recap of the noteworthy elements that occurred in the 2013 Super Bowl, the TV event of the year.
Jennifer Hudson sings with the Sandy Hook Chorus … a group that was NOT created by the young kids that are part of it.
As described in my recent article, Sandy Hook Survivors Are Made to Sing “Over the Rainbow” to Commemorate the Shooting, children that survived the shooting are currently being used in all kinds of media events. A few weeks ago, they recorded Over the Rainbow (an MK-Ultra trigger song) and were made to perform on live television. For the Super Bowl, the Sandy Hook Chorus was sent to New Orleans to sing before 70,000 spectators and millions of TV viewers. Why? Why do we keep bringing this horrible shooting to the center stage? To remind people that “gun control is good”? Isn’t it very sad and ironic that these kids must sing America the Beautiful after witnessing a horrible massacre, one that might have been caused by a mind-controlled patsy? Why are these kids being booked and flown to all kinds of nerve-wrecking mass media events? Is this still part of their “healing process”? Why are they being mixed with the Illuminati entertainment industry? Shouldn’t they be home with their friends and families instead of being under the spotlight? The exploitation of their image is rather unsettling.
The performance was led by an industry-favorite, Jennifer Hudson - aka the “new Whitney Houston” – who is always chosen to perform in important occasions. Hudson also survived a strange and terrible tragedy, with the triple-murder of her mother, brother and nephew in 2008.The best word I can use to describe the half-time show is “Beyoncé-ish”. It was like, sooooo Beyoncé. After “singing” (kinda) at the Obama inauguration, Beyoncé was again the star of a major event. No need to say that she’s an industry favorite, a figure-head of the Illuminati music industry. As described in several articles on this site, the symbolism in her work clearly indicates who she is working for. While her half time show was not the big, pharaonic occult display of Madonna’s 2012 show, we still witnessed the mind-control symbolism that is usually part of Beyoncé’s material.
The entire show focused on duality and the multiplying of personalites, two concepts that are extremely important in Monarch mind control (read the article Origins and Techniques of Monarch Mind Control if you don’t know what I’m talking about).
The first and most visible cue to the concept of duality and alter-personas is the stage itself which consists of two faces that somewhat look like Beyoncé.
The stage is made up of two faces mirroring each other, an image evoking duality and multiple personalities.
The first part of the show contained a combination of symbols and visual effects that refer to the concepts of duality and multiple personalities.
At the beginning of “Baby Boy”, Beyoncé dances in front of a black and white background (a representation of duality). Through video effects, she then “multiplies herself”.
Here we see one black silhouette (which is Beyoncé, the “core” personality) and two white silhouettes (alters personas?).
The two white silhouettes turn into real human Beyoncé look-a-likes who dance with her for a while. We then see a lot of lights flashing and confusing effects, making us wonder who is the real Beyoncé. The blurring between reality and illusion is a focal point of mind control and is aptly displayed here.
Even the saxophone girl, with her Masonic checkerboard pattern dress, conveys the concept of duality.
At one point, the screen behind Beyoncé displays the classic symbol representing the fracturing of personalities, one that is almost ALWAYS part of MK-themed narratives.
The first part of the show was therefore all about duality and multiple Beyoncés. Then, the group Destiny’s Child was randomly brought back from the late-90s to sing along with one of Beyoncé’s solo hits. During Single Ladies (Put a Ring on It), Beyoncé briefly flashes a hand sign – one that readers of this site probably already know all too well. This gesture generated a lot of media attention.The screen that displayed alter personas and dualistic patterns shatters (emphasized with a loud sound effect), a symbol indicating the fracturing of persona in MK symbolism.
Beyonce flashing the “ROC” hand sign.
Quite a few mainstream websites such as Yahoo! and Huffington Post published articles about this hand sign, asking if Beyoncé was “flashing an Illuminati symbol”. These articles however all come to the same conclusion: Beyoncé was doing the ROC sign to shout-out her husband’s label (duuuh) and everyone who thinks otherwise is a moron. Many of the articles then provide a quick, half-assed recap of what the Illuminati is, making sure to distort many facts to make the whole thing seem completely idiotic. This trend is becoming increasingly appearent on the web and mass media.
I admit that the mainstream sources are right: This hand sign is indeed the “ROC sign”. But here’s my question to these “journalists”: Where does the ROC sign come from? What does it represent? Why does a label named Roc-A-Fella (a nod to the Rockefellers, one of the most powerful Illuminati elite families) uses a triangle hand sign to represent itself? How about going a little further than the obvious superficial answer for a change, mainstream media?
The hand sign is not random. It signifies something and flashing it during the Super Bowl tells a lot about who is running the show.
The ROC hand sign refers to the All-Seeing Eye within a triangle, the ultimate Illuminati symbol.
In Judaism, the gesture is known as Kohanim hands Priestly Blessing. It is depicted here on 18th Century grave.
Also, to respond to the ridiculous claims of those mainstream articles: No, Beyoncé and Willow Smith are not IN the Illuminati. They are USED by the Illuminati-owned music industry to push an elite agenda. Pop artists are pawns who signed a contract binding them to the elite and requiring them to do their bidding. Most readers of this site know this already, but there is growing push in mainstream media to discredit “conspiracy theories” by writing stuff like “Look at these idiots who think that Beyonce is part of an 18th century secret society”.
Anyhow, let’s look at the rest of the Super Bowl.
During the 3rd quarter of the football game, half of the lights go out. It was caused by a mysterious “anomaly” that caused the system to shut down.
Half of the SuperDome’s lights are out. Notice the Mercedes-Benz logo.
Considering the Illuminati sub-text of the event, I cannot help but think about the occult pseudo-meaning of having half of the stadium basking in light and having the other half being in darkness. I am not saying this happened on purpose, but it is still an interesting synchronicity. One thing is for sure, the “glitch” energized the 49ers, who scored a few touchdowns and got back in the game. All of a sudden, this lost cause became interesting and the fourth quarter was rather … thrilling. Apparently, Mercedes-Benz knew that would happen.
This Mercedes-Benz magazine ad was eerily correct.
While the ad seemingly refers to the fourth quarter of the fiscal year, the literal meaning of the ad is still perplexing, considering what happened at the game.
If we combine this ad with the one I described in The 2013 Mercedes Super Bowl Commercial and its Occult Message, one can at least say that Mercedes-Benz brought a lot of strangeness to the SuperBowl.
While things were somewhat more subdued and abstract in this year’s SuperBowl (versus the 2012 edition), there were still many elements that went right along the Agendas described on this site. When we combine all of the elements together, we realize that there’s a common and reoccurring theme going on, one that points directly to the “hidden hand” of the Illuminati and its many Agendas.
The mass media coverage of Beyoncé’s Illuminati hand sign, also reflects a new trend: Mass media are now directly addressing, discrediting and ridiculing “conspiracy theories” (I hate that term) in order to make sure that people do not start thinking too much about the strange things they are witnessing on TV. Media coverage of Sandy Hook also followed that trend as several TV personalities went on air to “debunk” the theories. Fortunately for the powers that be, most people still teared up when they saw the Sandy Hook chorus standing in the middle of the SuperDome, singing about how America is beautiful. Yes, America is beautiful, but the elite that run it, and who exploit people’s lives and emotions to push their own Agenda, is most definitely not.
Oh yeah, and the Ravens won the game.