An accidental hit. The post What was the only album that displaced ‘Sgt Pepper’ at number one during its 15-week run? first appeared on Far Out Magazine.

Or Frank SInatra or Paul McCartney The post The song John Lennon wrote about The Beatles and Rolling Stones rivalry first appeared on Far Out Magazine.

Similar riffs. The post The Stevie Nicks song that “completely ripped off” The Police: “Don’t ever do that again!” first appeared on Far Out Magazine.

The Oscar nominee had a rough time landing the role that made her famous.

When I began a career of digging into the Left’s shadowy financiers, conservatives were losing the “dark money” war. Less than a decade later, it’s the Left facing extinction — and no one’s more astonished by the turnaround than I am. In August, news came that the Gates Foundation — one of the world’s largest mega-funders of “progressive” political schemes — was quietly defunding Arabella Advisors, the dark money ATM that’s benefitted from over half a billion dollars from Gates since 2009. Armed with billions, the Arabella network exploits our nonprofit charity laws to agitate for D.C. statehood, pack the Supreme Court, and fund Democrat voter drives — all under the guise of philanthropy, and entirely tax-free. The New York Times waved off the decision as a blip that “sparked unease in the world of progressive philanthropy.” But this is no blip. It’s a sign that, for the first time, Democrats are facing a crisis they can’t bluster or buy their way out of… and it’s only going to deepen. I should know. I was the first to expose the Arabella network in 2018, and I have been tracking it ever since. Here’s how it works. Anyone who knows its more famous cousin, the Tides Foundation, will quickly recognize the playbook. Instead of cutting checks directly to activist groups, leftist mega-donors and foundations route billions through tax-exempt nonprofits directly controlled by Arabella Advisors. That masks their identities and lets them play at being respectable philanthropies, while still bankrolling grubby political crusades.  These are not political action committees like the RNC or DNC, which are heavily regulated by the FEC. The Left prefers to weaponize 501(c)(3) organizations like your local church or the Salvation Army — hence the scheme’s nickname, “charitable money-laundering.” This arrangement skirts clear laws barring foundations from intervening in politics by labeling things like voter registration “charity.” And leftists have been at it since the 1970s.  The Arabella model adds a sinister twist: It manufacturers “pop-up” front groups that do all the dirty work in-house through a process insiders call fiscal sponsorship. These are little more than jazzed-up websites with generic names like “Fix Our Senate” and “Floridians for a Fair Shake” passing themselves off as independent, grassroots groups. Yet they’re unplugged the moment a campaign wraps up with little to no paper trail. No public filings or disclosures revealing their activities or donors. Nothing real at all — save the damage done to our country.  Behind the pop-up campaigns are Arabella’s seven spin-off nonprofits with equally forgettable names — “Hopewell Fund,” “New Venture Fund,” “Telescope Fund,” and others — shells run by Arabella staffers reaping seven-figure consulting fees.  This constellation raked in an incredible $9 billion while flying almost completely under the radar. You’ll find its reach almost everywhere in politics from fake news sites, the Paris Climate Agreement, and even the Lincoln Project’s Never Trump campaign ads. I’ve documented the complete story at my investigative news site, Restoration News. Amazingly, Arabella started this lucrative enterprise 20 years ago. Yet conservatives only discovered it in 2018… and completely by accident. At the time, I was a newly minted journalist reporting on professional activists trying to block President Trump from nominating a conservative justice to replace the late Justice Ruth Bader Ginsburg. One name stood out as unfamiliar: Demand Justice, a group not found in IRS archives yet which boasted expensive, glossy, pre-printed signs — each bearing the name of a different potential nominee from Trump’s shortlist (“Stop Kavanaugh,” “Stop Barrett,” etc.). Only after punching the group’s address into Google did I realize Demand Justice was just one small cog in a vast political machine, and all of it centered on a single office in downtown Washington: the Arabella mothership itself. I spent the next four years mapping every inch of this empire, from its origins and board connections to its lobbying and donors. Along the way, I met incredible reporters and diggers — real pros with talents that helped me hone my own — who had discovered key pieces of the Arabella puzzle, but hadn’t yet fitted them together. Though you’d have to dig for my name, that work eventually found its way into conservative news, the Mark Levin Show, Don Jr.’s tweets, multiple state legislatures and Capitol Hill, and then finally the liberal papers that once concealed the Left’s dark money dominance. There’s even a tell-all book about Arabella’s evil exploits by my dear friend and mentor, Scott Walter (buy the book, you won’t regret it!). We all watched Arabella slowly transform from the Man Behind the Curtain into the very poster child for dark money, and change the politics around dark money for good. The Democrats’ Sinking Ship Anyone familiar with the structure of the post-Obama Democratic Party knows it’s captured by the activist class, or what insiders call “the groups.” Their domination arguably peaked in 2020, when devious nonprofiteers handed Joe Biden the presidency with their “permanent campaign” model: A combination of partisan Zuck bucks, microtargeted voter registration, and get-out-the-vote drives in blue precincts. Much of it was funded and influenced by Arabella.  At the same time the Left was dramatically outspending the Right in untraceable nonprofit dollars, Arabella was trying to restrict free speech by labeling it “dark money,” a term progressives coined in 2010 to criticize conservative political spending. Their goal wasn’t fairness or transparency. They wanted to permanently lock Republicans out of power by ensuring we couldn’t copy their permanent campaign strategy — which, of course, we ultimately did.  It took Kamala Harris’ disastrous defeat last year to weaken the activists’ grip on the party. As a writer specializing in the structure of professional Washington, I can’t overstate how eye-opening this was to watch. Grousing about our leaders is quite common on the Right; yet questioning “the groups” is utter heresy on the Left. Post-election headlines scream otherwise: Vox: “Are progressive groups sinking Democrats’ electoral chances?” Axios: “Democrats start clawing each other’s eyes out” Vanity Fair: “Infighting. Panic. Blame. A Special Report From Inside the Democratic Party’s Epic Hangover” In These Times: “Democratic Elites Blame Everyone But Themselves for Historic Collapse” Again, that sort of out-in-the-open critique is normal in the GOP — but it’s unthinkable among Democrats. Now, however, party strategists are blaming the groups for leading them into the political wilderness, and Democrats’ once-respectable financiers are trying to wriggle out of the crosshairs, beginning with the Gates Foundation. They won’t be the last to denounce Arabella. That retreat from Arabella is the first sign the far Left’s money spigot is drying up. You see it in the Democrats’ recent money woes — everyone from the DNC and state parties to the groups themselves are short on cash, with donors demanding change. Leadership’s civil war resembles a Stalinist politburo in the middle of a succession fight, but it’s the radicals who are approaching a full-on rout.  It’s hard to say what comes next. But history shows that culture wars end when Americans harden around a new consensus — and anyone caught on the other side of that political divide will soon find himself in permanent electoral exile. Think the Tories after the American Revolution, the Southern planters after the Civil War, the GOP after 1929 … or today’s woketariat. Sixteen years ago, when the Gates Foundation first began funding the Arabella network, the Left commanded the sympathy of the American people, an army of paid protesters, and the donor class. They’ve already lost the people. Now they’re losing the billionaires, too. That leaves the world’s oldest political party looking more and more like its most lavishly funded Marxist book club.  If I were Arabella Advisors, I’d start looking for a new gig. This one’s up. Hayden Ludwig is the founder of Restoration News and author of Arabella: The Left’s Dark Money Monster.

Craft beer is still popular, but brewery closures impacted the industry throughout 2025. This is a list of the U.S. breweries that have closed this year so far.

Springsteen Film Screened, Nevermind Baby L:oses, Hatebreed Respond, Ozzy Doc On BBC, Living Colour on Kimmel and Papa Roach Return To The Top. Bruce Springsteen 9/28 Springsteen Live And On Flim Bruce Springsteen takes the stage for a surprise acoustic performance of his song “Land Of Hope And Dreams” following the New York Film Festival premiere of “Springsteen: Deliver Me From Nowhere.” Starring Jeremy Allen White as Springsteen the film’s theatrical release is set for October 24th. “Nevermind” Album Cover 9/30 “Nevermind” Baby Loses Again A lawsuit over alleged child sexual exploitation brought by Spencer Elden who was the naked infant on the cover of the Nirvana’s “Nevermind” is dismissed by U.S. District Judge Fernando Olguin. It’s the latest loss for Elden who has perused legal action for several years. Elden sought millions of dollars in personal injury damages from the now-defunct group’s company, record companies and art directors on the grounds that he was a victim of child pornography when he was photographed naked in a pool for the cover of the 1991 album. Chris Beattie 10/1 Hatebreed Answers Former Bassist’s Suit Hatebreed respond to a lawsuit filed on September 25th by former bassist Chris Beattie with a motion filed by their legal team who ask the court to dismiss four of the six claims that Beattie made in his lawsuit. The two remaining claims concern the band’s merchandising sales. Ozzy Osbourne 10/2 “Ozzy Osbourne: Coming Home” Airs On The BBC The one-hour film about the “last chapter” of Ozzy Osbourne’s life, was pulled from the BBC’s schedule last August out of respect for his family’s wishes (following Ozzy’s passing), debuts on BBC One and iPlayer. “Ozzy Osbourne: Coming Home” is “the moving and inspirational account of the last chapter of Ozzy’s life,” reads promo materials, Living Colour 10/2 Living Colour On Kimmel Living Colour is the musical guest on ABC’s “Jimmy Kimmel Live!” The band plays “Cult Of Personality,“ a pointed, politically charged track which served as their breakthrough song in the late ’90s. Living Colour singer Corey Glover once said, “I think if it weren’t for that song, I’d be working for UPS. Papa Roach 10/4 Papa Roach Score 12th #1 The song features H20 vocalist Toby Morse. “We wanted to create something that felt urgent, honest, and in your face — and bringing Toby in took it to the next level,” explained Papa Roach frontman Jacoby Shaddix. “This song is a call to wake up before it’s too late.” ### The post The Week In Rock: September 28th – October 4th appeared first on RockinTown.

Legend has it The Hives were drawn together in ‘93 by a person using the pseudonym Randy Fitzsimmons. The musicians, who were in their mid-teens, began working under Fitzsimmons’ direction developing a manic garage Rock sound. Soon they were playing shows in their hometown of Fagersta and creating a lot of excitement.Two years later, the Hives were signed to a subsidiary of the Burning Heart label and released their sophomore EP, “Oh Lord! When? How?” That effort’s success got them moved to Burning Heart’s main imprint for the full-length “Barely Legal” and follow-up EP “AKA I.D.I.O.T.” The album and EP had guitars cutting a swath that was filled with a distorted bass and smash mouth drums as raving vocals ran roughshod over the din. Questions began percolating as to Fitzsimmons’ real identity. British music magazine N.M.E. came to the conclusion, after “intensive investigation,” that Fitzsimmons was actually Hives’ guitarist Arson. This was vehemently denied by Arson who said Fitzsimmons was a real person who simply wanted to remain anonymous while providing songs and guidance to the group. Whatever. The Hives hit the U.S. with “Veni Vidi Vicious.” Though tamer than its predecessors it still had ample grit and good songs including the major hit with “Hate To Say I Told You So.” Hate To Say I Told You So The compilation “Your New Favourite Band” landed in ’01 with tracks spanning the group’s career up to “Vidi Veni Vicious.” The Hives returned in ’04 with “Tyrannosaurus Hives.” The album offered smart-mouth Punk humor on songs “Abra Cadaver,” “Two-Timing Touch And Broken Bones” and “See Through Head.” It went on to sell over 176,000 copies in the U.S. Tyrannosaurus Hives ’07 release “The Black And White Album,” contained the single, “Tick Tick Boom. “Prior to the album’s release the group began a North American arena tour opening for Maroon 5 and playing headlining gigs, at smaller venues, as their schedule permitted. Tick Tick Boom Unfortunately, “The Black And White Album” sold a meager 54,000 copies probably due to the band’s willingness to go over the top, occasionally sounding like vintage Stones jamming with Toni Basil (“Try It Again”) or Rick James noodling with the B-52s (“Giddy Up”). The remaining tracks employed the trademark slashing guitars and strident rhythms. Try It Again Giddy Up Not surprisingly, The Hives announced that their fifth album, “Lex Hives,” would be issued on their own label, Disque Hives. The ’12 set consisted of a dozen self-produced tracks, with a deluxe version containing bonus songs produced by Queens Of The Stone Age frontman Josh Homme. The first single was “Go Right Ahead.” Over the next decade The Hives saw the departure of bassist Dr. Matt Destruction for health reasons, the release of a handful of singles, a live album (“Live at Third Man Records”) plus a number of festival appearances. But following the COVID lockdown, The Hives embarked on a European tour supporting The Offspring. Finally, “The Death of Randy Fitzsimmons,” The Hives sixth studio album arrived via the band’s label. It was the first studio release in over 11 years – since ’12’s “Lex Hives.” The album was recorded in a studio owned by ABBA’s Benny Anderson in Stockholm which was used again two years later for “The Hives Forever Forever The Hives” which did well in Sweden and the U.K. but failed to register in the U.S. The HivesHowlin’ Pelle Almqvist (Per Almqvist)  Lead Guitar  Nicholaus Arson (Niklas Almqvist)  Guitar/Keyboards  Vigilante Carlstroem (Mikael Karlsson)  Guitar  Dr. Matt Destruction (Mattias Bernvall)  Bass  Chris Dangerous (Christian Grahn)  Drums/Percussion   ### The post The Hives appeared first on RockinTown.

Epic footage shows annoying foreigners being kicked out of Eiffel Tower area.

While Trump hopes Hamas will sign onto his plan now, less than a month ago his administration lured the Islamic militant group's leaders to Qatar for a peace conference where Israel proceeded to bomb them.