Having sought the sun-up in Sin City last year, 2014 sees Richard Durand take the ‘Search’ in the opposite direction, to a place ever increasingly tagged “the Vegas of the East”. The most gleaming emirate of them all, Dubai is as famous for its cloud-piercing skyscrapers as it is its wide expanse deserts. It’s also supports an electronic music ecosystem that’s surpassed ‘flourishing’ and long since hit ‘overdrive’, boasting huge crowd-pull festivals, a thriving underground studio scene, dedicated EDM sites by the dozen and its own monthly dance mag.
Reflecting new clubbing principalities has been historically key to ‘Sunrise’s genetic. Richard’s fifth trip since taking the fiesta over from Tiësto, the excursion East sees the man from Amsterdam join forces with UK trance maestro Lange. The album follows in the fine traditions of the series by tapping the most creative, edge-cutting trance at its studio source. From there the pair have harmonically and seamlessly mixed ‘Sunrise’s Class of 2014 into three mixes that will again act as summer’s trance barometer. And this year, with ‘Dubai’, that reads hotter than ever.
Of the latest in the mix-comp series, Richard says:
“I think the only real surprise that comes with this year’s ‘In Search of Sunrise’ destination is that it hasn’t come Dubai’s way sooner. Dance music has broken out in so many areas since I took over mixing the album, that’s it’s been a mission in itself to keep up!
Dubai is a place I’ve played many times now and somewhere I know I’ll never get tired of coming back to. People go out of their way to find great music, great nights and great experiences here. It’s that passion, dedication and selectivity that I’m trying to reflect by shining the ‘Search’ light on the emirate”.
Reflecting everything from its mirrored high-rise cosmopolitan to its heat refracted sandy shimmer, I.S.O.S. 12’s audio skilfully captures both the essence and heartbeat of Dubai’s DNA. Richard & Lange’s shared mission to bring its tracklist one album-exclusive after another has resulted in 200+ mixed-minutes of incredible music.
Richard’s first mix initially comes quartered in the provinces of trance-progressive. Azotti feat. Bagga Bownz’s ‘Day And Night’ and Talamanca’s ‘Ocean Drive’ soundscape its beatific intro, before Laura Aqua’s bowed-but-unbroken vocals on Jeremy Vancaulart & Assaf’s ‘The Space Between’ turn up the emotional wattage. From there ‘Dubai’s shades & patterns undulate from the trance-tropic (Sean Tyas’ ‘Take A Moment’, RAM’s ‘Epic’ and others) to hothousers like Somna & Yang’s ‘Chasing Stars’. Adding to his own lucent album overture ‘Dubai Desert Fish’, Richard adds the purpose-built Tech of ‘Shield Of Faith’ to the mix’s midsection and the spicy ‘Sambuca’ to its closeout.
Dawning every bit as bright, the second mix brings fresh-cut music like Ira’s ‘Don’t Tell Me’ (vocalled by the aptly christened Paulina Dubaj), ‘Forever In Our Hearts’ from Holland’s Ruben De Ronde and, adding deeper, more eclectic tones, Moonbeam’s ‘I Go On’. Alex O’Rion heats up on ‘Cocoa’, whilst High5 feat. Nanje Nowack ‘Ten Thousand Suns’ and ‘Karma’ from Hungary’s Sunny Lax keep things equally as thermal. Tying off his 2014 Sunrise quest, Richard works in ‘The Inquisitor’ from the on-fire Driftmoon (marking the pair’s second appearance after ‘Luminance’), the pure driven trance of Elfsong’s ‘Seldarine’ and Amir Hussian & Allen Watts equally flammable ‘Step Into My World’.
After recruiting Myon & Shane 54 to his Las Vegas ‘Search’ last year, for 2014 Richard has invited none other than Lange to guest mix the third and final ‘Dubai’ disc.
On joining mission: Dubai, Lange says:
“I was very excited to receive the invite to be part of the legendary ISOS series! I’ve really enjoyed putting this mix together; it’s turned out pretty dark and moody, spanning Progressive Trance through to peak time club bangers.”
Over 80 minutes he brings together both the best of the underground with music from some of its scene-wide legends. I.S.O.S. forefather Tiësto’s ‘Just Be’ (in its newly reworked Kris O’Neil form), Andy Moor’s ‘Fade To Light’, ‘Out Of Coverage’ by Bobina and his own remake of ‘A Different Shade Of Crazy’ are just some of the big-name highs. Newer production names shine just as bright, as music from Tangle, Johnny Yono, Danilo Ercole, Dimension and others define and refine Lange’s ‘Dubai’ vision.
‘In Search Of Sunrise 12: Dubai Mixed by Richard Durand & Lange’ brings what MIXMAG calls “the greatest trance series of them all” a new level high. It arrives in stores June 2nd.
Richard Durand with Lange – In Search Of Sunrise 12 (Dubai)
Mix 1. (Richard Durand)
01. Richard Durand – Dubai Desert Fish (Intro Mix) 02. Azotti featuring Bagga Bownz – Day And Night 03. Jeremy Vancaulart, Assaf featuring Laura Aqui – The Space Between
04. Talamanca – Ocean Drive (Savid Remix) 05. Somna & Yang featuring Michele C. – Chasing Stars 06. Kam Delight – Whatever You Like 07. Richard Durand & Cynthia Hall – Shield Of Faith 08. NoMosk & Roman Messer featuring Christina Novelli – Lost Soul 09. Sean Tyas – Take A Moment 10. Rafael Frost & Jennifer Rene – Higher (Hazem Beltagui Remix) 11. Driftmoon – Luminance 12. RAM – Epic 13. Ronny K. vs. Ren – Come With Me 14. Richard Durand – Sambuca 15. Faruk Sabanci & James Dymond – Sphinx
Mix 2. (Richard Durand)
01. Richard Durand – Atlantis (Intro Mix)
02. Gai Barone – Eve
03. IRA & Paulina Dubaj – Better In Time
04. Ruben de Ronde – Forever In Our Hearts (David Broaders Remix)
05. Moonbeam featuring Polina Griffith – I Go On
06. Alex O’Rion – Cocoa (Trance Mix)
07. High 5 featuring Nanje Nowack – Ten Thousand Suns
08. Adam Kancerski featuring Aneym – Into The Light 09. Sunny Lax – Karma 10. Roman Messer featuring Ange – Imagination (Cold Rush Remix)
11. Driftmoon – The Inquisitor
12. ReOrder – Beyond Horizons
13. Elfsong – Seldarine
14. Amir Hussain & Allen Watts – Step Into My World
15. Dimension – On Her Behalf
16. Ferrin & Morris – Amatoria
Mix 3. (Lange)
01. Danilo Ercole – Contact
02. Max Freegrant & Matrey – Hussar
03. Tiësto featuring Kirsty Hawkshaw – Just Be (Kris O’Neil Remix)
04. Dimension – Verano
05. Johnny Yono – The Recluse
06. Andy Moor – Fade To Light
07. Bissen – Quantum (Future Disciple Remix I)
08. Michael Badal – Carnivale
09. Tangle – Firebird
10. Lange presents LNG – Hey! While The Sun Shines
11. Andy Duguid featuring Jaren – History
12. Ari Kyle & Audioscape featuring Simon Latham – Never Far
13. Anske – Vilnius
14. Bobina – Out Of Coverage
15. Anske – Dreamcatcher
16. Lange – A Different Shade Of Crazy (Lange vs Refracture Breaks Mashup)
17. Mateusz – Zeal (In Search Of Sunrise Mix)
18. David Gravell – Melbourne
Closing the final chapter on the emotive 3-part ‘Metamorphic’ EP series, Tritonal ensure they end on a high with the almighty ‘Seraphic’. Feeding off the energy of the recently previewed and highly acclaimed ‘Anchor’ – Chad and Dave have once again delivered a sound that is truly incredible. With the release of ‘Metamorphic III’ confirmed for September 15th – fans can now head to iTunes to pre-order the EP.
With ‘Satellite’ (ft. Jonathan Mendelsohn), ‘Anchor’ and now ‘Seraphic’ all ready to be unleashed, it’s become increasingly apparent that this new wave of Tritonal sound is here to stay. Completely flipping the energy and atmosphere from the previous two EPs, ‘Seraphic’ sees the pair collaborate with young Pittsburgh native Mr. Fijiwiji, exhibiting a glitchy yet euphoric ambiance to really display the versatility and creativity that this Texas twosome can achieve. Soft, warm synths rim alongside the beautifully crafted piano riffs as they slowly but surely drop into faintly frenetic dubs and wobbles. Stepping out of their comfort zone, Tritonal are confident that this change of pace will continue to please their faithful Tritonians as it resonates with the forever classic ‘Still With Me ft. Christina Soto’.
Metamorphic III’ completes the trilogy that has tracked Tritonal’s musical transition over the past nineteen months. Fast earning a reputation for delivering some of the most energetic and passionate sets in dance music, Tritonal are continuing to revolutionize and unify the electronic dance scene. With just a handful more dates remaining on their current tour, there’s still time left to join the Tritonian movement and catch them at the dates below:
See Tritonal On Tour
Sep 05 – Nocturnal Wonderland – San Bernadino
Sep 12 – Marquee – Las Vegas, NV
Sep 26 – Knitting Factory – Boise, ID
Sep 27 – Park City Live – Park City, UT
World-renowned dance music icon Tiësto announced today that he will release his brand new artist album, “A Town Called Paradise,” on June 16th. Set to feature the incredible “Red Lights,” a track that charted at #6 on the Official UK Singles chart as his first ever UK Top 10 and has gone on to sell over half a million copies globally, alongside anthemic new single “Wasted (feat. Matthew Koma)” and a further 12 exclusive new tracks on the standard and 4 bonus tracks on the deluxe, it’s an incredible album that opens up the next chapter in this legendary artists career.
A number of stand-out collaborations also take center stage, with the likes of Hardwell, Sultan & Ned Shepard, Firebeatz, MOTi and Dzeko & Torres all featuring, as well as a number of extraordinary guest appearances from esteemed vocalists Icona Pop, Matthew Koma, Ladyhawke, Zac Barnett from American Authors and Krewella.
Recently debuted during his headline set at Ultra Music Festival, “Wasted” slides from a sunny acoustic guitar into the DJ’s instantly recognizable production. Over a kinetic beat, Koma carries an unshakable hook of, “I like us better when we’re wasted”. Right out of the gate, it’s already a strong contender for “song of the summer” with its shimmering, unforgettable chorus and buoyant bounce perfect for days on the beach or by the pool and nights in the club.
“Wasted” is the second single from Tiësto’s forthcoming fifth full-length album and first for Virgin EMI. It follows up the hit “Red Lights”, which racked up over 12 million YouTube/VEVO views and 32million streams and counting.
“A Town Called Paradise” tracklisting:
1. Tiësto – Red Lights
2. Tiësto – Footprints feat. Cruickshank
3. Tiësto – Light Years Away feat. DBX
4. Tiësto – A Town Called Paradise feat. Zac Barnett from American Authors
5. Tiësto & Hardwell – Written In Reverse feat. Matthew Koma
6. Tiësto – Echoes feat. Andreas Moe
7. Tiësto & Firebeatz – Last Train feat. Ladyhawke
8. Tiësto – Wasted feat. Matthew Koma
9. Tiësto – Let’s Go feat. Icona Pop
10. Tiësto – The Feeling feat. Ou Est Le Swimming Pool
11. Tiësto – Shimmer feat. Christian Burns
12. Tiesto & Kaaze – Rocky
13. Tiësto and Sultan & Shepard – Close To Me feat. Quilla
14. Tiësto – Set Yourself Free feat. Krewella
About Tiësto
Tiësto is one of the most recognizable forces in the genre. He’s received the adoration of millions worldwide, garnered Grammy Award nominations, opened the 2004 Olympic Games, been named “The Greatest DJ of All Time” by Mixmag and the “#1” DJ by Rolling Stone, partnered with Guess and AKG for his own brands, headlined festivals worldwide including Ultra Music Festival, and Electric Daisy Carnival, launched the “Club Life” channel on Sirius XM and is in the midst of a storied residency at Hakkasan Las Vegas Restaurant and Nightclub and Wet Republic pool party at MGM Grand Hotel & Casino.
Iconic producer duo Showtek have joined forces with hotly-tipped US star Ookay to present killer new single ‘Bouncer’, released today via Beatport. Following up the unprecedented success of anthemic club track ‘We Like To Party, ‘Bouncer’ works a similar, playful formula to stunning effect, showcasing a sound that Showtek have made entirely their own since Skink’s inception in 2013.
Building with idillic, glistening synth lines and bubbly, fluid bass, it soon explodes into life with a trademark rip-roaring, razor sharp bassline that cuts through the sonic-rich intro with unerring precision. Perfectly engineered for the dance floor, it exudes all the jump-up euphoria Showtek have become renowned for and, with Ookay’s trap-leaning influence coming to the fore too, should prove another major hit in the clubs.
To coincide with the release, the duo have also premiered the exclusive, fan-generated official video for ‘Bouncer’. Following a week long competition that saw fans showcase their ultimate ‘Bouncer Moments’ in the hope of winning a coveted slot, the best entries were selected to feature in the official video. Keen to put their fans right at the very centre of their music, it represents a bold and engaging move for a duo set to dominate 2014 and serves as a fun and innovative addition to the single.
Showtek continued to build on their growing reputation throughout 2013 and with a flurry of new music forecast for 2014, all is set for the duo to cement themselves as one of the world’s hottest dance acts.
Following the release of an exclusive teaser EP via Spotify on May 12th, virtuoso producer/DJ Afrojack is proud to present his inaugural major album project, ‘Forget The World’ on May 19th. Comprised of 12 tracks, with a further 4 featuring on the album’s deluxe edition, ‘Forget The World’ offers up a wonderful mix of dance floor styles that illustrate every inch of Afrojack’s musical pedigree.
Thoughtful and measured in it’s approach, it’s an album that sees Afrojack bridge the gap between the dance floor and home listening, enlisting a whole collection of star names to collaborate on a body of tracks that go beyond the realms of conventional dance music production. Hip-hop icon Snoop Dogg, legendary Police frontman Sting, global chart-topper Chris Brown, US rapper Whiz Khalifa, rising star Matthew Koma and revered rockers 30 Seconds To Mars are just some of the names that contribute to making ‘Forget The World’ a thoroughly absorbing debut.
From the soaring, anthemic feel of opener ‘Ten Feet Tall’, a track that received it’s world premiere during Superbowl XLVIII in February, the acoustic leanings of euphoric, synth-rich club track ‘The Spark’ and electro-house flavoured trap beats with Snoop Dogg on ‘Dynamite’, Afrojack showcases an exploratory new side to his production remit right across ‘Forget The World’. The softer notes and soundscape-like composition on ‘Mexico’, featuring a stunning vocal from Shirazi, is also a highlight and one that contrasts perfectly with the harder, club-centric sound of his rip-roaring ‘Do Or Die’ remix.
Further defined by more intriguing collaborations, ‘Forget The World’ also plays host to the stripped back sounds of ‘Too Wild’ featuring Whiz Khalifa & Devin Cruise, two bold, exhilarating club tracks alongside much sought-after vocalist Matthew Koma and the incredible ‘Catch Tomorrow’, featuring iconic frontman Sting.
The sheer range of collaborators, sounds, influences and production styles that Afrojack exhibits across his debut album are indicative of an artist keen to make his music as accessible as it is ground-breaking. Delivered with a firm message for fans to literally ‘Forget The World’ and follow their dreams, it is a body of work that explores Afrojack’s infectious, feel-good outlook in more ways than ever before.
Afrojack – ‘Forget The World’
01. Ten Feet Tall (ft. Wrabel)
02. Illuminate (Afrojack & Matthew Koma)
03. Born To Run (ft. Tyler Glenn)
04. Freedom (Afrojack & D-wayne ft. Jack McManus)
05. The Spark (ft. Spree Wilson)
06. Dynamite (ft. Snoop Dogg)
07. Too Wild (ft. Wiz Khalifa & Devin Cruise)
08. Three Strikes (ft. Jack McManus)
09. Catch Tomorrow (ft. Sting)
10. We’ll Be Ok (ft. Wrabel)
11. Mexico (ft. Shirazi)
12. Keep Our Love Alive (Afrojack & Matthew Koma)
—–Deluxe—–
13. Faded
14. As Your Friend (ft. Chris Brown) (Arranged Version)
15. Do Or Die (Remix) (Afrojack VS. Thirty Seconds To Mars)
16. Sovereign Light Café (Remix) (Afrojack VS. Keane)
Bringing the sounds of Ibiza 2014 to Big & Dirty Records, Starkillers is the chosen DJ in the mix for the Ibiza 2014 compilation for the label, to be released on the 30th May. The compilation will feature two exclusive tracks from Starkillers himself, Reefa and Bang Ya Head as well as 7 exclusive bonus tracks.
Not for the faint-hearted, Starkillers has put together a soundtrack featuring some of the biggest and baddest sounds you’ll hear this summer, including tracks from Jochen Miller, Dmitry KO, Bass Kleph and Stefan Darbuck. Starkillers has created a mix that is sure to kick off your summer and be the number one go-to Ibiza compilation.
Exclusively mixed into the compilation, to be released on the 30th May is Starkiller’s new track ‘Reefa’, working electro synths into huge build ups and melodic Balearic break downs, accompanied by compulsory hand claps, Starkillers well and truly encapsulates the dance heavy Ibiza vibe. To top it off, Ibiza 2014 has added seven exclusive bonus tracks to the compilation including tracks from some of electronic music’s rising artists, see the full track list below.
Watch out for the compilation to set the summer off, with Reefa as a stand out track on the mix and a warm up to big releases in the pipeline! With dates lined up across the globe, catch Starkillers at one of his live dates from the US, Australia and Indonesia.
Full Tracklist
1. BASS KLEPH – DISCO SUCKS
2. BOBBY ROCK & TENASHER – B.O.P
3. MARCO V – BACK TO THE JUNGLE
4. STEFAN DARBRUCK – ACID PHASE
5. HARRYS & FLY – THREAT (Big & Dirty Ibiza 2014 Exclusive)
6. RAVENKIS – VENDETTA
7. STARKILLERS – BANG YA HEAD (Big & Dirty Ibiza 2014 Exclusive)
8. STARKILLERS – REEFA (Big & Dirty Ibiza 2014 Exclusive)
9. MICKMAG & JUSTBOB – QUANTUM
10. PATRICK LA FUNK & DBN – QUICK QUACK
11. JOCHEN MILLER & DMITRI KO – WE BACK
12. TONY ROMERA – DRAKARTA
Exclusive Bonus Tracks
1. KEN ROLL & BORIS WAY – SPEAKERS
2. DIRTY RUSH & GREGOR ES FT. WRETHOV – CHILDREN OF THE SUN
3. HOLL & RUSH & RICHIE LEE – TAKE A BITE
4. MANTRASTIC – PENTAGRID
5. ARTISTIC RAW & BILLY THE KID – MAKE U GO
6. INGEK – DREAMERS
7. RUBY & TONY – UNDERBEA
Parisian DJ SUB ZERO makes his welcome return to Guru Records in the form of aptly titled ‘In The Club’ out from today.
The Frenchman’s roots are on show from the start with an up-front, hip-hop drum pattern paving the way for the main body of the track that raises the energy before dropping into a garage-house beat. Funky and with a dark edge it’s a soundtrack to dance floors everywhere, and impossible not to move to.
Finding a new home in Miami, Paris’ Olivier Amiel aka SUB ZERO’s career has taken him down an interesting path. From a crate-digging hip-hop DJ in the golden era of the genre – the 90s – he quickly escalated through the Parisian ranks, fusing R&B and dance music with his first love – hip-hop.
Appearing for the first time after 6 years of absence, fans all over the world were left excited as one of the most influential teutonic duo of the last decade announced a come back in 2013 through the collective mass of musical rhapsody infused in their latest album ‘Random Access Memories’. The once unfinished story of Daft Punk can now have a perfect fairy-tale ending as their comeback in the mid of 2013 marks another creative high in their career as they won record of the year for ‘Get Lucky’ and album of the year for ‘Random Access Memories’ at the 56th Annual Grammy Awards Sunday night. Daft Punk has more reasons to celebrate than the fact that they’ve successfully grabbed the most prestigious award of the year but also made history by becoming the first electronic act whose production won the the album of the year since the inception of the award back in 2004. The duo broke a staggering record of 35 years since ‘Saturday Night Fever’ crowning recognition back in 1979.
The duo were naturally silent in their signature trait of futuristic helmet and suit so Paul Williams who contributed on the songwriting and vocal parts on songs such as ‘Evergreen and We’ve Only Just Begun accepted the trophy stating that he was in the middle of sobering up from years of substance abuse until two robots approached him and asked him to make an album.
Pharrel Williams accepted the award for record of the year for the song ‘Get Lucky’, in which he contributed on vocals.
Pitch: Their sixth studio album; the next transitional step from the mega-selling ‘Wake Your Mind’ L.P. History: Germany’s most enduringly successful electronic music duo Cast: Cosmic Gate (Nic Chagall & Bossi), Emma Hewitt, Orjan Nilsen, Jerome Isma-Ae, Eric Lumiere, KhoMha, Jonathan Mendelsohn, Alexander Popov & Jannika, Cary Brothers + many more Mission: The artist album… perfected Critics: “When they invent the amplifier that goes up to 11, you can score ‘Start To Feel’ 11. Until then it still has to be ‘just’ 10!” – Album of the Month (MIXMAG) Runtime: 1hr, 26mins Released: June 27, 2014 on WYM Records / Armada Music
Tagline:First they woke your Mind… now Start to Feel!
‘Start To Feel’s story couldn’t begin in a finer place than ‘Happyness’. Cooler on tempo, higher on life, its sun-dipped pianos and rhapsodic melodies fuse feel-great atmosphere into the album’s overture.
Through its female vocal troupe, the LP’s vision begins to broaden. Founded on faithfully syncopated 80s electro drum patterns & FX, Jaren cuts it soul-deep with ‘Try’, whilst ‘Be Your Sound’ heroine Emma Hewitt returns with the torch-song triumph of ‘Going Home’. Further in, ‘Shine Forever’ and ‘The Sparks After The Sunset’ (co-starring Alexander Popov & Jannika and Sarah Lynnrespectively) radiate their spirited uplift.
“What we would like to get across through ‘Start To Feel”, says Nic Chagall “is that electronic music doesn’t need to always start and stop at the drop. It doesn’t have to be all about that 60 seconds. We love that type of music. If we didn’t we wouldn’t have made tracks like ‘So Get Up’ and a dozen others. But those are start points to Cosmic Gate’s music. Not end ones.”
“Our overall aim is the long game”, expands Bossi. “In the studio we want to create tracks with real life expectancy. We want to make ‘years-from-now’ music, where every time you come back to a track, you hear something new, something different, something more than you caught the last time. There are so many more moments and elements with which you can start to feel a track. We want to encourage people to experience electronic music in a deeper, wider, more complete way.”
An all-powerful atmosphere generator, ‘Yai’ dark charts the outer-reaches of progressive instrumentalism… then voyages further still. Likewise building more dissident characteristics into ‘S.T.F.’ is the Jerome Isma-Ae co-production ‘Telefunken’, which pans, echoes and tremors its square-form sonica, finally introducing a Kraftwerk-ian lead-line. Skilfully flipping the frequency dial, Kristina Antuna supplies mainline spark to ‘Alone’ – a track whose supremely catchy lyrics and song will be all over the world’s airwaves come summertime.
Naturally, no Cosmic Gate LP would be complete without a substantial bedrock of arena-razing atomics! Tracks like ‘So Get Up’ and ‘Crushed’ (exclusive to its iTunes release) have already given peak-time a heads-up of what’s incoming. Nic & Bossi reap further thunderous instrumental havoc through the complexly programmed fire & brimstone synthesis of Orjan Nilsen collab ‘Fair Game’ and the aural superstructure of KhoMha co-pro ‘Tormenta’.
‘S.T.F.’s gravities are brought into acuter focus through music like ‘No One Can Touch You Now’ and the album’s title track ‘Start To Feel’. All but erasing the line between deep trance & house, they bring never-previously-heard sounds and styles to Cosmic Gate’s production creed. Respectively, Mike Schmid and ‘WYM’ returnee Cary Brothers supply their vocal expression to tracks whose lyrical narratives play in the mind for days.
Making two appearances over its runtime, LA’s Eric Lumiere brings vocal elevation to “anthem-in-a-can” (DJ Mag) ‘Falling Back’ and a more deeply held pathos to ‘Run Away’. Heralding the album’s coda, early Nic Chagall singer/songwriter discovery Jonathan Mendelsohn brings an expressive, moving vocal magnetism to its iTunes exclusive swansong ‘All My Life’.
Electronic Music bible MIXMAG says ‘Start To Feel’ is:“stylistically fearless, panoramic, astonishing and by virtue-of, reaches that hallowed height of perfection.” Start to feel it for yourself from June 27.
Tracklist:
01 Happyness
02 Falling Back (with Eric Lumiere)
03 Fair Game (with Ørjan Nilsen)
04 Alone (with Kristina Antuna)
05 No One Can Touch You Now (with Mike Schmid)
06 Telefunken (with Jerome Isma-Ae)
07 Run Away (with Eric Lumiere)
08 Going Home (with Emma Hewitt)
09 Sparks After The Sunset (with Sarah Lynn)
10 Yai
11 So Get Up
12 Try (with Jaren)
13 Start To Feel (with Cary Brothers)
14 Shine Forever (with Alexander Popov & Jannika)
15 Crushed
16 Tormenta (with KhoMha)
17 Falling Back (Radio Edit) (with Eric Lumiere) – Bonus Track
18 All My Life (with Jonathan Mendelsohn) – Bonus Track
Electronic music producer deadmau5 has announced today (December 20) the official launch of his new online service, live.deadmau5.com (http://live.deadmau5.com), a digital destination he personally architected for fans to get direct access to premium content and intimate experiences.
deadmau5, who has teamed with Upfront,is breaking the mold by building this fan-centric platform. Here’s how the artist and producer himself breaks it down. The service goes live today just in time for the holidays. It’s available on the web at thisurl, and it’s also part of a downloadable desktop application for Mac andPC. Native mobile apps for iOs, Android, and Windows Phone will follow in March 2014, but music fans can begin enjoying the service right now.
An account is freeand with it, users may sign-in, listen to 30-second clips, read all of the latest deadmau5 and Meowingtons news, view photos, and even experience live streams. Meanwhile, a paid subscription boasts a myriad of exclusive features andbenefits. The majority of live streams will remain exclusive for subscribers only. These include but aren’t limited to tutorials from deadmau5, screen sharing, events and concerts. Moreover, they will have access to full-length songs, which may also be downloadable.
Then, there’s the aptly dubbed “MSG BOREDS.” It’s just like it sounds. As deadmau5 puts it, “Everyone can enter and lurk, but only ‘suckscribers’ can post.” He will occasionally make appearances there to in order to say hi and engage in stimulating conversations.
The most revolutionary feature is the “CHAT.” It’s a groundbreaking approach that allows paid users to be voiced and chat away. Non-subscribers can watch, but not speak. In addition, once a chat is announced, the service will randomly select four users for a designated period of time and allow them to chat with deadmau5.
Paying subscribers can also expect lots of downloadable content [DLC] from thedeadmau5studio.
Jump inside deadmau5’s world at live.deadmau5.com. Get your “Suckscription”now.
Jim Clark: A Humble Birth That Unleashed A Giant Of A Man
The year was 1965 and the Formula One circus was on the move once again bringing the carnival to the East coast of South Africa where the host of the race, Prince George circuit was located. The teams arrived 3 days ahead of the scheduled race day carrying huge and heavy bulks of apparatus and components that would become the backdrop of a Formula One car’s technical framework. The 1965 South African Grand Prix was about to open the floor to what would become one of the most exciting years in the Formula One’s history.
The Most Advanced Formula One Car of The 60s circa, The Lotus 33-Climax
As for the mindful founder and engineer of Lotus F1 team, Mr. Colin Chapman, the chronicle was about to launch a brand new start to his own career. He was about to unveil Lotus’ latest and most innovative vortex from the already expansive benchmark of Lotus racing car series. The latest magnum opus of Formula One’s engineering pioneer was made in the wake of its predecessor, the Lotus 25-Climax and spotted the same iconic colours that had become a sentimental trademark of the team. The new Lotus 33-climax was engineered to perfection; spotting the universal praxis of its maker, with the usual striking yellow that was set within a swaddle of green – yes, that was the car that was set to drive its pilot to his second World Championship title as far as hopes and resolutions were concerned, it created a magnetic vibe it the air, the confidence was equally strong.
The 33-Climax materialised Chapman’s ground breaking discovery that was first idealised in the Lotus 24, which was later preceded by the 25-Climax that became the first car that broke Formula One’s provincial grounds. The speed machine had gone through some prominent changes and upgrades to be raised as an obvious winner on the field. The car was the quickest in the field, but as far as consistency was concerned, its aerodynamic features failed to deliver the expected proficiency hence ripping its pilot off his 2nd World title in 1964 after suffering technical problems at the most important race of the season. However it was also the car that managed to take 7 pole positions and set the 6 fastest laps out of the 10 cycle race. The narrow miss at the penultimate lap of the final race that was contributed by an engine burst became a cause of frustration for both the team and the pilot. The technology was achieved and quite astonishingly so to speak, but the downfall of its breakdowns were equally unrealistic and with that, the team was set to reattribute the 1964 lost with the development of the first ground breaking and most advanced F1 car out of the 60s racing dominion.
When Colin Chapman decided to fully discard the 25 for a brand new prototype; it quickly became a major metamorphosis to the previous model. Build using the most advance 33 chassis, the new 33 was constructed with the G.R.P body as opposed to the previous model’s fibreglass body on the aluminium monocoque. With the addition of cantilever top arm and lower wishbone to the front suspension, it dramatically increased the car’s horsepower by a 10% margin while still being able to remain within the approved weight that was allowed for the Formula One cars. It was indeed a total reformation compared to all the previous models, it was one of its kind – in fact, it was one of the best and the most technically advanced Formula One car of its time.
It was the car that first contributed to Formula One’s major and prevailing changes that would continue until the dawn of the latest century. The 33-Climax set the tone and pace of the European sport’s most pivotal moments and spawned the beginning of revolutionary engineering at its best. It was set to live through the jewelled vision of another constructor’s trophy and award for the year. That was the vibe that kickstarted the season.
1965
The 1965 South African Grand Prix was held on a very special day as it marked the end of 1964’s succession and ushered in the 1965 evolution. The Formula One teams celebrated the final day of the year during the qualifying session that saw Lotus’ driver taking the first pole position of the season – a streak that would continue till the end of the competition. The car quickly dominated the tracks setting the bar suitably high by taking the pole, setting the fastest lap of the race and finishing the race at the top of the podium. A spectacular streak on its debut by any standard.
When the American journalists arrived in East London, South Africa to the genesis of British’s motor sports, the instructions from their respective publications and editors couldn’t be any clearer. The man they were to lookout for was the foregoing World Champion, John Surtees but it wasn’t the only thing they had to oversee. The focus was set on the 1964’s second runner up, the man who had engaged title winner, John Surtees and second place’s Graham Hill in a season-long battle to the championship title that was marred with a technical failure just as he was closing up on the title. He did not win but somehow he managed to catapult the kind of debate that continued to travel way past the 1964 Mexican Grand Prix, the race that decided the season’s champion. The debate conquered the fact that Surtees was the official winner but in an alternate reality, it was the Lotus’ driver who was the most worthy of the title, he was after all the season’s favourite. The ongoing analysis somehow blighted Surtees’s first and only Formula One victory leaving the British driver struggling for relevance in between the paramount comparison that was known to instantly shackle Grand Prix drivers and race winners who emerged victorious in a close run-outs and the aftermath that obliterated their statures.
The man they had been inferring to was none other than the naturally talented farmer and Lotus driver who was 4 and a half years old in his Grand Prix experience and a single title to his name. Nevertheless, Clark had accumulated a cult that had consorted him as the most exciting talent in the history of motor sports if not the most incredibly gifted driver the racing community had lived to witness. His supreme abilities had already out-shined many of his ilk with a reputation that was immediately rising above many legends from the past. The man’s overall persona confirmed his sovereign artistry.
The Man Who Was Known As Jim Clark
The fertile grounds of Scotland has unleashed many gifted and effectual legends from its vault and some of them are still highly regarded in the modern history. Some of the most imposing figures would be the man who invented the first practical telephone; Alexander Graham Bell, the creator of Sherlock Holmes, Arthur Conan Doyle, Alexander Flemings who discovered the most effective life-saving drug known as Penicillin and there’s no end to the list that holds the names of historical aristocrats that has served this generation one way or another.
As for the post World War 2 generation when the British motor sports finally hit its most pivotal moments, Scotland once again gave birth to a giant of a man 78 years ago. Jim Clark had the kind of charisma that was almost instantly audible without the downside of being all too flashy. His finest traits was his modesty and ordinary attitude that was instantly visible in his character, his manner and his style. But the one thing that made the man so arresting was his simplicity. His idiosyncratic image only made him all the more desirable and by the 1965 season he had become far more popular with the opposite gender compared to any other driver of his generation. In simple words, any news about Jim Clark would make a solid headline for any publication anywhere in the world with an advantage of completely selling the print material for the day.
Jimmy Jim Clark, born on March 4, 1934 in Kilmany, Scotland made a solid proposition on the Formula One tracks but in person he was not as you would have imagined him to be. Your first impression would travel through a myriad of thoughts because he had none of the champion’s imperiousness or vanity. Neither was he the typical rabble-rousing Scottish from the land that was famous with its century-old whiskeys nor did he looked like the kind of man who would have marched in unison with the rest of the Scottish troops in the Battle Of Stirling Bridge. That facet would have better suited the likes of Stirling Moss, Fangio or even Gurney who by all means were not even Scottish. Clark in his truest form was just another Scottish farmer as how he liked to be known but instead of plowing the fields of Berwickshire, he was plowing the race tracks with moments of sheer vehemence and raw power. In the sight of the 1965 Formula One Championship, when he was yet to win his second crowning glory; his stature was already firmly cemented. There was a genuine presence to the proceeding.
Here was, another legend in the making if it wasn’t already done. He was a simple a man who was always profoundly lost somewhere in his thoughts with a distant look in his eyes while subconsciously biting on his nails. Besides the thick black hair that was always combed to the side like a Scottish revolutionist, perfectly ironed blue racing overalls, which at times was matched with a subversive cardigan, the nail-nibbling was yet another prominent feature of the man known as Jim Clark. Was it pre-race jitters or just the force of habits, no one really knew. But he was somehow always nibbling on his nails, deep down to the roots of his perfectly trimmed fingers. Yes, he was Jim Clark, motor racings most genuine talent, the man who had the ability to harness and civilise even the most unruly and decisive race machines. Aye! Jim Clark and race cars got together like Scotland and rain.
The Clark-Chapman Formation
By the 1965 season as the new Lotus 33-Climax was introduced and Clark being in his most outstanding form, the man who was to benefit the most out of the combination was of course, Colin Chapman. Chapman was also the man who kickstarted Clark’s career in the Formula One racing after the then 24-year-old Scotsman managed to leave behind a lasting impression on the technologist when he took the second place to Chapman’s first in a 10-lap GT race at Brands Hatch. After launching him as the most imposing prospect out of the Formula One’s dominion, the Scot’s further outlived the first impression he made on Chapman through his sheer aggression as he quickly picked up the pace in becoming motor racing’s most exciting talent in recent years.
While his skills skyrocketed on the tracks, his stardom started to travel at an equal pace and yet Clark remained endearing humble throughout his extraordinary stature. He was camera shy, never truly got adjusted to the fame as he was never really comfortable with all the huge media attention. Part of this could be due to the fact that he never truly understood his own extensive abilities, which always left him with a question to why he was becoming insanely famous. The shyness was incredibly touching as it was arresting. His natural talents in tuning the most difficult of cars was not only impressive but also consequential and he was the most beloved champion on the racing grounds that it was almost difficult for others to see him as an opponent or a contender, he had such a special aura that it illuminated the path and the rest would just gladly follow his trail with no questions asked. The pairing between Colin Chapman and Jim Clark left behind a legacy that has travelled through universal kalam and is still highly credited and accorded in the motor racing history. Together, the Chapman-Clark combination soared to grandiose heights, took the drivers and constructers title and became the augurs that succeeded in pushing the claustrophobic envelope.
His Existence Was Like The Emergence Of A Rare Comet – It Happens Only Once In A Lifetime
The 1965 South African Grand Prix that kicked off the racing season started on the same day as the Scottish New Year eve known as Hogmanay and proved to be one of Clark’s sweetest victories when he won his first Grand Prix race of the season by half a minute from BRM’s Graham Hill. Clark led the race from pole breaking the 100mph barrier and even had the time to complete an extra lap after the chequered flag. This further proved Clark’s succession on the map and the Lotus 33-Climax’s adduce in the Formula One circuits, with the South African race being the first out of the 6 winning streaks for Clark. It would have been 7 continuous wins if he had not been away winning the Indianapolis500 and missing the prestigious Monaco Grand Prix. Clark’s title was secured as early as August that year with 3 races left to the end of the season for winning more races than any other drivers in the league. Not only did he win 6 races out of the 10 contested cycle, he also took a total of 6 pole positions and equalled the number by setting 6 fastest laps out of the race season. The 1965 Formula One Season is held in great respect in accordance to Clark’s racing career for his early dominance from the start of the Grand Prix season, which secured his second World Championship title. It was also the year where Clark emerged as the Indianapolis 500 champion that automatically sealed his merits in the book of history. He became the only Grand Prix racer who had commanded both the European and American motor sports in the same year – a record that has never been challenged or bested. His Indianapolis 500 win is highly regarded in terms of his skills and talents. He commanded the race for 190 laps out of the 200 with a phenomenal and unparalleled speed of 150 miles p/h (240 km/h) that broke new grounds in the America’s most prestigious motor racing’s history as he became the first British driver to win at such an outlandish and incomparable feat in almost half a century.
Clark was also among the only 17 drivers in motorsports history who had the merit’s of competing in all three legs of the Triple Crown and to have won at least one of the events comprising of Indianapolis 500, 24 Hours of Le Mans and Monaco Grand Prix with Graham Hill being the only driver in history to have completed all three levels of The Triple Crown. Since two out of the three prestigious races were contested over the same weekend with Indianapolis 500 practise session and race day clashing with Monaco’s qualifying and weekend race, it was humanly impossible for a driver to be able to compete in all three races without missing one. The most ludicrous prospect of the two races was the fact that they were located on the opposite sides of the Atlantic Ocean and scheduled on the same day.
What he himself never understood was what the world couldn’t truly digest. What he did was something that was never done before. How he won was something that no one was able to replicate and how incredible was his talents was something that Colin Chapman summed up by simply stating;
‘There are other racing drivers who have generally to attract attention to themselves to make up for the lack of ability; but Jimmy has not had to do any of that and if he left motor racing tomorrow, he would leave with an example which other would find hard to follow’ – Colin Chapman, Lotus F1 team founder, 1965.
The Resignation Of Clark And The Persuasion Of Chapman
The late great Ayrton Senna once described his feeling at the speed of 300 mph as emotion, pleasure and challenge. The man who has visually remained as motor sports most outstanding talent summed up the essence of speed in three simple words that left behind such a momentous effect. Speed for racers was some form of art, created through layers of moving images in which they expressed their greatest fears and also their tremendous desires. From the starting grid to the first corner as the momentum starts to rise at the increasing speed that would at one point of the race reached its maximum performing power, the world around them disappeared. It was in return replaced by moments of sheer clarity out of the shadowy presence of existence. Life had no meaning where speed was concerned for speed was life itself. There was no ruler here, nothing to fight over, nothing to lose, because at the height of personal satisfaction, even death became trivial. Speed was such a treacherous form of art for it made them believe that they could be mortal, in full control of everything and yet it never did travel alone. It travelled in the favour of its closest companion who understandably had such a paramount obsession with the fearless. They said it was merciless and yet it was the most merciful form of destruction because the dead did not see what they had left behind, the life ended too quickly to have the time to reflect.
The biggest lessons in life are learned through experience and failures, and the best encounters with reality happens when destruction is witnessed firsthand. It was in one of the most cruel events that came in a form of one of the most gruesome encounters that finally snapped him back into reality. It wasn’t rocket science even when it did sometimes appeared to be just that, the sport was extremely dangerous and it didn’t need some form of scientific explanation to break down the formula for one’s understanding. Formula One cars were the most powerful speed machines in the world but there were also known to be the deadliest apparatus invented by man. It was only his second race out of his debut season and he managed to finish in the top 6 position at number 5. A very impressive performance by a rookie by any means or standards but the joy was an ill feeling. He left the 1960 Belgian Grand Prix at the Spa-Francorchamps circuit with no joy, nothing left to celebrate. His finishing stunt and first ever championship points of his Formula One career came at the expense of two dead drivers. He went back with a feeling of resignation. The joy was subdued.
The 1960 Belgian Grand Prix became the first ever darkest day in Formula One history – a day that would live until it was preceded by the great Imola tragedy 26 years later at the 1994 San Marino Grand Prix when the tragic weekend of the race, which would start with Simtek rookie’s death, Roland Ratzanberger during the qualifying day marking the first fatality of the season hence ending the fatal-free era that stood for a record of 12 years. The week came to a tragic end with the second fatality in a race weekend with the premature death of Formula One’s most supreme legend, Ayrton Senna. The events in Imola was a reminiscent of the Great Belgian tragedy in which 23-year-old Chris Bristow lost his life after loosing control of his vehicle at the fast right hand bend known as the Burneville corner. Bristow fatal crash was followed by Clark’s Lotus’s team mate 26-year-old Alan Stacey who also crashed fatally at the same exact spot just a few minutes after Bristow.
Bristow’s fatal crash occurred at Lap 19 in one the most gruesome freak accidents when he lost control of his car and crashed into the embankment throwing the driver into the barbed wire fence. The impact decapitated Bristow throwing his lifeless body back onto the track’s surface and an approaching Clark narrowly missed running over the headless body of the unfortunate driver. The start to the tragic race weekend was already marred with two heavy crashes when both team mates Stirling Moss and Mike Taylor would crash separately with Moss’s crashing at the same corner that would contribute to the premature death of two other drivers. Both Moss and Taylor were seriously injured in the crashes, with Taylor’s most prominent career ending injuries that left him paralysed.
The nightmares were just taking its form for Clark when after the race he no longer felt the urge of staying in Formula One but Chapman managed to persuaded him to stay, which he did only to face yet another awful tragedy in the following year where he was unwillingly dragged into the crash that eventually became the deadliest F1 Grand Prix tragedy, which included non-drivers fatalities. Von Trips’s Ferrari collided with Clark’s Lotus and while Clark escaped unhurt, the crash killed the impending World Champion, German’s Wolfgang von Trips and 15 spectators.
The reality robbed him of his impending joy, the sports that he had come to love and hate at equal measures proved to be more treacherous than he had ever imagined. Death followed the Formula One circus at a close proximity and it travelled like a mad man without a steering wheel going at 350mph. When it came, it took away more than it gave. It was then when Clark decided that it was just too much for him, there was nothing ideal about a sport that offer joys in one moment and grief in another. He felt partially responsible for Von Trip’s death even when it was clear that he had nothing to do with the tragic end of the future world champion. Sadly for Clark, he was at the wrong place at the wrong time. It was the ironic flair of the statement because the tragedy in Hockenheimring also happened under similar affairs.
Chapman, Lotus team founder and chief who had build a close bond with the Scotsman, acted as the only encouragement force that stood between Clark’s prorated desires towards the whole racing circa and its constitution. He would have not ventured very far from the race tracks even if he had decided to leave – it was too obvious that the man was born to be in a Formula One car, he was enormously gifted and strikingly resilient. If an insane man was to describe Clark in the most glaring term, he would say that Clark brought out the soul in the machine, it was as if there was some kind of cosmic reality being woven together between the man and the machine that would nullify the law of man. What Clark had would profess above the law of man, he was delivered from the divine law of God. He was curated to understand a language no man could or would be able to do, he spoke to the machines, and seemingly they understood him as they would eventually obey.
Clark descended from the divine law and Chapman was almost a rocket scientist who practised on cars and together they were known as the Chapman-Clark twins. The Chapman-Clark interfusion has lived to serve as the most innovative and revolutionary era in Formula One history. But the divine law was nowhere near Hockenheimring on the unfortunate day when the Formula 2 championship was contested as it eventually robbed Formula One out of its most outstanding and irreplaceable talent.
7 April 1968, Hockenheimring, Germany
The day was 7 April 1968 when Clark’s Lotus 48 disappeared while running on an isolated path of the track in a Formula 2 race – a drive that was taken rather reluctantly due to the obligations the team had with the sponsors. Clark’s fate was sealed and the man who had been so enormously famous in life with reporters hunting him down all the way to his private sanctuary, died in a solitary confinements of Hockeinheim’s thick and brooding jungle with only the ancient trees bearing witness to the end of a legacy. And with that Clark’s secrets was forever buried within the forest of the ring. His death left a significant mark on the racing community, it was as huge as his life had been. No one knew what happened, was it the tyres? Was it the steering column that gave up on him ? Was it the debris? Or simply a driver’s error? No one knows and the momentary sadness left behind a permanent damage, there was never really a closure here because no satisfactory conclusion was ever provided. It was the first time the racing community was investigated ever so thoroughly, no one was spared, not the teams, not the drivers who tragically only found out once the race was over, no one. If they could have spoken to the trees, they would have done that too because it was printed in words, sealed in such high expectation that asserted the impracticality that Clark cannot die. For that reason alone, the aircraft crash investigators was called to investigate the cause of his death. The world called for a complete inquiry. It had to be done, people needed some kind of comfort and there was none, never been. The closure is still open somewhere in the heavily constructed circuit. The scene that ripped away the life of the legend is no longer a part of the track’s course, it is just a grim memory of a distant past that still calls to millions of fans to sometimes visit the spirits of the forest who waited with his cold body.
The simple irony was that, if Clark could die than the sport had lost all of it virtue and decency. What Chris Amon said about Clark’s death would be the cliche of assertion to what Clark had been through his short years;
‘If it could happen to Clark, what chance do the rest of us have?’
Lotus was placed under heavy interrogation, Chapman struggled to cope with the devastation citing the lost of not only the greatest driver to have ever lived but also a very close friend. It is to Graham Hill’s credits that the team managed to go through the 1968 season when he pulled the heartbroken team together to win the 1968 championship title which he later dedicated to Clark.
It was here when the divine law ended and in its place, the very elements of the man-made law stood out. Even the greatest of men dies and the path to the tragedy is always taken alone on live’s loneliest roads. There was a marshal at the scene who was too dumbfounded to even speak. Who wouldn’t be when Clark, the safest driver out of the Formula One’s vault almost took the marshal out on his way to his own tragic end.
His death altered the vibe, the settings and everything Formula One was at the time of Clark’s life. Every department from the nuts to the bolts to every specs of the car was inspected, altered, modified, changed and all this was just the beginning of a life long attempts to make the sport’s safer. And yet, the death toll somehow continued to rise. From the premature death of Formula One beau ideal, Jim Clark whose graven image would follow F1 to its grave to the sad dismissal of Formula One’s notable icons, title holders and uncrowned kings – this sport’s that had given the world some of the best heroes of this century also took back on equal terms. It was after all the unforgiving nature of the sports, everyone knew this the moment they stepped into the Formula One cars, Senna knew this when he took the unfaithful drive at Imola that marked his tragic end that catapulted him into what became known as the pagan symbol, worshipped till the end of civilisation.
His talents and skills was beyond comparison and in the modern Formula One history, the closest any Formula One driver ever got in replicating the great Jim Clark could have been French man Alain Prost. His achievements and notoriety would be on equal grounds like the late great Ayrton Senna and 7-time-world-champion, Michael Schumacher. It would take the combination of Tazio Nuvolari’s swagger, Alberto Ascari’s style, Fangio’s mastery, Gilles Villeneuve’s gallantry, Ayrton Senna’s unprecedented speed, Alain Prost’s perfection and Shucmacher’s greatest success to create one and only Jim Clark that this generation of racers had come to know or see. His success was never measured with the 2 championship titles he won, his arrival to Formula One circuits kickstarted an era that lasted throughout his reign and ended with his unfortunate demise while his small build and humble nature minified his generation of drivers.
Jim Clark remains as the epitome of perfection in the modern Formula One racing, with his heart-on-sleeve passion, he kickstarted an era, in which the Lotus empire reach the peak of it prowess, and no one has ever come close to emulating him almost half a century after inception. He was Jimmy Jim Clark, who was more comfortable being the farmer that he was rather than the World Champion he had become. He was Jim Clark, the race car whisperer.
Jim Clark would have turned 78 today had he not died in the deep forest of Hockenheimring in the spring of 1968, exactly 46 years ago when his glorious life was cut short by an unidentified cause while his death was witnessed by the ancient keepers of the jungle that had stood through the test of time, through the legendary birth of modern superheroes such as Ayrton Senna, they have refused to die and they will continue to carry the deadliest secret of one of Formula One’s greatest tragedy and insurmountable sadness in recent history. He was Jim Clark, he was only a farmer, a short man with broad shoulders, he could have been a boxer if he wanted to but he was never meant to be one, he was born to be in a Formula One car, it was one of those dangerous love affairs, the killing kind of love.
For additional reading, log on to Peter Windsor’s website as he explores the life of Jim Clark from his own personal experience of having met the legend in person.
For your warmth and for your credibility, for your youth is sealed in your tragedy, in your short years, you left behind a legacy, the world will remember you for who you are and not for what you’ve been. You are alive in the hearts of those who carries your memories in every waking hour of their lives. Rest In Peace, Mr Farmer.
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