The Survival and Basic Badass Podcast Episode: Drones Over NJ: What Are They Up To, and Why Are We Being Lied To? In this video, I discuss the recent sightings of drones flying over New Jersey and the possible reasons behind them. I also explore the possibility that we are being lied to about the true purpose of these drones. Don't let uncertainty overwhelm you. Subscribe to The Survival and Basic Badass Podcast. We deliver practical tips to help you and your family navigate what is coming. Remember being prepared is the first step toward embracing your inner Badass. Join The email list and check out the shop @ survivalandbasicbadasspodcast.com The Survival and Basic Badass Podcast is available on Apple, Spotify, Podurama, and wherever you find great content. As always, this show is for entertainment, not legal or health advice. Some of the topics I cover in this video include: The history of drones in the United States The different types of drones that are in use today The potential uses of drones, both civilian and military The concerns that have been raised about the use of drones The evidence that suggests that we are being lied to about the true purpose of some drones I hope you enjoy this video and that it helps you to learn more about the drones that are flying over New Jersey. drones New Jersey conspiracy theories government secrets surveillance

The world's oldest evidence of the phenomenon.

Sturgill Simpson can do it all. Country music star with countless genre-bending hits? Check. Succeed under the completely different name of "Johnny Blue Skies" that allows for an exploration into a different sound? Check. The ability to drop in and play with one of the most recognizable bands in the history of music? Check. He's simply one of the most versatile artists the music industry has ever seen, and maybe that's why he's never exactly fit in with the traditional mold of modern music. Sturgill is everything you want out a modern artist, but everything that modern music doesn't want. It's a weird juxtaposition, but that's what makes the artist known both as Sturgill and Johnny Blue Skies so special. I'll tell you this much... if a band as iconic and revered as the Grateful Dead trusts someone to come in and not only help share their music, but give it a spirit of its own, they're one of the best of business. The surviving members of the Grateful Dead - Bobby Weir, Bill Kreutzmann, and Mickey Hart - were recently recognized at the 47th Annual Kennedy Center Honors for their work with a band that has existed in some form or fashion since the mid 1960's. For reference, it's the equivalent of if the surviving members of The Beatles were still touring together. Though the official Grateful Dead band broke up shortly after frontman Jerry Garcia passed away in 1995, other versions of the band have kept the spirit of the Grateful Dead alive (confusing, I know). And the only two artists that the surviving members have trusted to step into long-term roles that honor Garcia - not replace - is John Mayer and Sturgill Simpson. Mayer has historically played with the version of the band called Dead and Company, but Simpson has also subbed in a time or two. Sturgill is even set to play with the Dead Ahead rendition of the group at their upcoming "Dead Ahead Festival," which will take place on the sandy beaches of Riviera Cancun, Mexico in early January. So it made sense for Sturgill to play a song when the Grateful Dead was being honored at the Kennedy Center Opera House. The Kennedy Center honors is meant to celebrate lifetime artistic achievement, and though the Dead only ever scored one Top-40 hit in their lifetime ("Touch of Grey"), the jam-band is more than deserving to be honored with such an award based upon their cultural impact alone. One of the most heartfelt songs from their catalogue is "Ripple," and that's the tune that Simpson - along with Grahame Lesh - decided to play on the band's big night. The performance was recorded back on December 8th, and the special is set to air on Sunday, December 22 on CBS. For right now, all we have is this short little minute snippet of Simpson's "Ripple" performance. Though short in length (I'll definitely be tuning in to listen to the full cover), it's more than enough and undoubtedly deserving of some time in the spotlight. Check it out: https://www.youtube.com/watch?v=0J-gD94S5Gw

Partnering up for a good cause. For the past seven years, Crown Royal has served as the exclusive whiskey partner of the CMA Awards. But the partnership goes well beyond just providing drinks for the open bar backstage or slapping their logo on the signs around Bridgestone Arena. Since 2022, the iconic whisky brand has been partnered with CreatiVets, a nonprofit organization that helps provide wounded veterans struggling with post-traumatic stress and traumatic brain injury heal from their injuries through art, music, and creative writing. And during the CMA Awards, Crown Royal teamed up with New Artist of the Year nominee Nate Smith and veteran-turned-country artist Scotty Hasting to announce a $50,000 donation from Crown Royal to CreatiVets to help further their mission of serving those who have served our country. During the show, Crown Royal took time to highlight Hasting's journey into country music with the help of CreatiVets. The Purple Heart recipient recently made his Grand Ole Opry debut, and even released a song with Dolly Parton and Lee Brice earlier this year, his version of "Til the Last Shot's Fired," which was first recorded by Trace Adkins. The song, a tribute to the sacrifices our men and women in uniform make to keep us all safe and free, has special meaning to Hasting, who first heard it while recovering at Walter Reed Medical Center from 10 gunshot wounds that he suffered in Afghanistan. Speaking on the opportunity to team up with Crown Royal and CreatiVets, Hasting emphasized the importance of music in helping to support our veterans after they return home: "I am so proud to be able to use music to reach people and help Veterans like myself, after returning home. It's an honor to support CreatiVets and Crown Royal in their mission to continue to help people through music, too." The $50,000 donation from Crown Royal marks over $370,000 that the spirits brand has been able to raise for the important cause, one that Jesse Damashek, the Senior Vice President of North American Whiskeys at Diageo, says "As we returned to Music City for the seventh year, it was important for us to extend our presence and plant our purple flag in the heart of country music... And of course, with generosity at the core of our brand we closed out the week with a memorable giveback moment. What an honor to have teamed up with Nate Smith and Scotty Hasting, to support our partner CreatiVets and highlight the incredible work they are doing for our veterans." Along with the donation to CreatiVets, Crown Royal also spent CMA Awards week celebrating the launch of their Crown Royal Aged 31 Year Old, their most rare variant to date and the third installment in their Extra Rare Series. I mean, nothing else needs to be said about Crown Royal. They're one of the most well-known spirits brands in the world. Just a classic whisky that's never going to steer you wrong. And it's even better knowing that you're drinking something from a company that's so committed to supporting those who served us.   View this post on Instagram   A post shared by Crown Royal (@crownroyal)

Roger Waters and David Gilmour were a crucial part of Pink Floyd's success and without one of them, the band certainly wouldn't sound the same. With the release of albums like "Dark Side of The Moon" (1973), "Wish You Were" (1975), "Animals" (1977) and "The Wall" (1979), they became one of the most influential bands of all time. Those albums are considered perfect but Gilmour and Waters worked together on other albums and there is one they were never satisfied with. The album David Gilmour and Roger Waters were never satisfied with It was not actually a Pink Floyd album but a Syd Barrett album. That's right, Roger Waters and David Gilmour helped Syd Barrett to record his two only solo studio albums. But the two were not satisfied with the result of "Madcap Laughs", the first one, released in 1970. The musician was fired from the band due to his increasing mental health problems but they helped on his solo career. He recalled that in an interview with John Edginton back in 2006 (Transcribed by Rock and Roll Garage). "He was trying to make a record with Malcolm Jones and they spent an awful long time on it. At some point it seem like it was being closed down by EMI. (So) he asked me and Roger to help him to get it finished. It seemed to me that would be a good way to try to help him get back on his feet. But it didn't work from that point of view because he came into the studio completely out of it on quite a few occasions." He continued: https://www.youtube.com/watch?v=8k5WQnfCjmk&pp=ygUTb2N0b3B1cyBzeWQgYmFycmV0dA%3D%3D "It was very, very hard to get anything done (on Madcap Laughs). There are some wonderful songs in there, they're really interesting. He didn't seemed to have to search for a melody or for a word. They just seem to be there, just seemed to come very easily to him. The nightmare actually was trying to make the record." "It was truly difficult to do in a very short period of time that EMI sort of gave us to try to get it done. Malcolm Jones in fact, did a very, very good job of getting the first few tracks done. (...) I think (the album) has got its charm and the songs are very, very good. But I don't think any of us were very satisfied with it," David Gilmour said. Some of the most famous songs of that record are "Terrapin", "Dark Globe", "Here I Go" and "Octopus". Gilmour played the bass guitar, 12-string acoustic guitar and drums on the track "Octopus". Waters only helped as a producer. Besides them, were also part of the record the musicians Jerry Shirley, Willie Wilson, Robert Wyatt, Hugh Hopper and Mike Ratledge. Gilmour has no idea how Barrett felt about those two albums Not long after those two albums, Barrett's mother asked the Pink Floyd members to not visit or talk with the musician because anything that reminded him of the band would make him go into a mental crisis. So they had no contact with him for the rest of his life. In an interview with Guitar Heroes Magazine in 1983, Gilmour recalled that Barrrett only said something about those two albums after they finished recording the last one "Barrett" (1970). "It was hell. But you know, we always felt that there was a talent there. It was just a matter of trying to get it out onto record so that people would hear it, and of course Syd didn't make that any easier for us. There were various techniques we had to invent for trying to get the stuff recorded. It was very very difficult; not really very rewarding. And I've no idea how Syd felt about it most of the time." He continued: "The only thing he ever said about it was at the end of the second album, when we'd finished. We were going up the lift in his block of flats in Earls Court. He turned round to me and he said, 'Thanks, thanks very much.' And that's the only expression of approval or disapproval of anything that I got out of him through two albums I think." "I've no idea if they were how he wanted them to be. But as he didn't offer opinions, we had to take it onto ourselves to decide how it should be. Which is quite a normal thing with producers. But it wasn't because we were trying to assert that on him. It's just there wasn't anything coming from him to tell us how he thought it should be," David Gilmour said.The post The album David Gilmour and Waters were never satisfied with appeared first on Rock and Roll Garage.