From the award-winning documentary, “Playing For Change: Peace Through Music“, comes “Stand By Me“, the first of many Songs Around The World produced by Playing For Change. This Ben E. King classic features musicians around the world recorded by the Playing For Change team during their travels. This song continues to remind us that music has the power to break down boundaries and overcome distances between people. To learn more about the work of the PFC Foundation, visit http://www.playingforchange.org
Second : Minute : Hour; Day / Month / Year
Sequential time and date convergence, smallest to largest increments.
A similar sequence occurred at 8:09:10 on November 12 2013, but this one rocks. Unless I’m missing something, we’ll have no more great time/date convergences for a very long time.
Adding the numbers and dividing by 21 (the number of the current Century for those of you not keeping track) results in the Number 3, the minimum number of points to describe a circle, a plane and a non-collapsible polygon; the noblest of all digits according to Pythagoras and one of only 9 Heegner Numbers, the Atomic Number of Lithium (3rd in line after Hydrogen and Helium), the number of physical dimensions we’re able to sense, and it’s also a crowd.
THIS IS A “FALSE FLAG” UFO ATTACK INCIDENT CREATED BY ORSON WELLS IN A LIVE BROADCAST ON CBS RADIO IN 1938
The War of the Worlds was an episode of the American radio drama anthology series Mercury Theatre on the Air. It was performed as a Halloween episode of the series on October 30, 1938 and aired over the Columbia Broadcasting System radio network. Directed and narrated by Orson Welles, the episode was an adaptation of H. G. Wells‘ novel The War of the Worlds.
The first two thirds of the 60-minute broadcast were presented as a series of simulated “news bulletins”, which suggested to many listeners that an actual alien invasion by Martians was currently in progress. Compounding the issue was the fact that the Mercury Theatre on the Air was a ‘sustaining show’ (it ran without commercial breaks), thus adding to the program’s quality of realism. Although there were sensationalist accounts in the press about a supposed panic in response to the broadcast, the precise extent of listener response has been debated.
In the days following the adaptation, however, there was widespread outrage. The program’s news-bulletin format was decried as cruelly deceptive by some newspapers and public figures, leading to an outcry against the perpetrators of the broadcast, but the episode secured Orson Welles’ fame.
