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What is "mountains will crumble and temples will fall and no man can survive it's endless call"?

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Mountains will crumble and temples will fall, and no man can survive its endless call. What is it? The answer is Time. AnswerParty!

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Endless is the second EP by American metalcore band Unearth. Released in September 2002. Endless is also their last original release under Eulogy Recordings after moving to Metal Blade Records for their new releases, and is the last record with drummer Mike Rudberg and bassist Chris Rybicki. Buz McGrath and John Maggard played bass on 3 of the EP's tracks, as Chris Rybicki left the band before its completion. The first 3 songs on this EP were recorded by Killswitch Engage guitarist Adam Dutkiewicz. The EP was re-released as a vinyl (7") by Confined Records and only contains the tracks "Endless" and "My Desire". The entire EP also appears on their 2005 compilation album Our Days of Eulogy. The song "Endless" features a tribute the band's first record label, Endless Fight Records, during a breakdown when the phrase "endless fight" is repeatedly screamed by vocalist Trevor Phipps. The song's lyrics also contain the phrase "winds of plague," which inspired the name of a subsequent band called Winds of Plague.
The lingam (also, linga, ling, Shiva linga, Shiv ling, Sanskrit लिङ्गं, , meaning "mark", "sign", "inference" or) is a representation of the Hindu deity Shiva used for worship in temples. The lingam is often represented alongside the yoni, a symbol of the goddess or of Shakti, female creative energy. The union of lingam and yoni represents the "indivisible two-in-oneness of male and female, the passive space and active time from which all life originates". The lingam and the yoni have been interpreted as the male and female sexual organs since the end of the 19th century by some scholars, while to practising Hindus they stand for the inseparability of the male and female principles and the totality of creation. Emerging of Lord Shiva or Maheshwara from cosmic flame is Lingodbhava also pictured as Shiva emerging from the Lingam – the cosmic pillar of fire. According to Linga Puran, Shiva लिङ्गं Shiva Lingam or Shiva Pindi has been interpreted as a symbol representation Formless, Universe Bearer & a Complete One, the oval shaped stone is resembling mark of the Universe and bottom base as the Supreme Power holding the entire Universe in it. Shiva Purana describes the origin of the lingam as the endless pillar (Stambha). The Linga Purana also supports the interpretation as a cosmic pillar, symbolizing the infinite nature of Shiva. The word Lingam has many meanings. The Hindu scripture Shiva Purana describes the worship of the lingam as originating in the loss and recovery of Shiva's phallus, though it also describes the origin of the lingam as the beginning-less and endless pillar (Stambha). The Linga Purana also supports the latter interpretation as a cosmic pillar, symbolizing the infinite nature of Shiva. Shiva is pictured as Lingodbhava, emerging from the Lingam – the cosmic fire pillar – proving his superiority over gods Brahma and Vishnu. The Sanskrit term लिङ्गं , transliterated as linga, has diverse meaning ranging from gender and sex to philosophic and religions to uses in common language, such as a mark, sign or characteristic. Vaman Shivram Apte's Sanskrit dictionary provides many definitions: Anthropologist Christopher John Fuller conveys that although most sculpted images (murtis) are anthropomorphic, the aniconic Shiva Linga is an important exception. Some believe that linga-worship was a feature of indigenous Indian religion. There is a hymn in the Atharvaveda which praises a pillar (Sanskrit: stambha), and this is one possible origin of linga-worship. Some associate Shiva-Linga with this Yupa-Stambha, the sacrificial post. In that hymn a description is found of the beginningless and endless Stambha or Skambha and it is shown that the said Skambha is put in place of the eternal Brahman. As afterwards the Yajna (sacrificial) fire, its smoke, ashes and flames, the soma plant and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted-hair, his blue throat and the riding on the bull of the Shiva. The Yupa-Skambha gave place in time to the Shiva-Linga. In the Linga Purana the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the supreme nature of Mahâdeva (the Great God, Shiva). According to Saiva Siddhanta, which was for many centuries the dominant school of Shaiva theology and liturgy across the Indian subcontinent (and beyond it in Cambodia), the linga is the ideal substrate in which the worshipper should install and worship the five-faced and ten-armed Sadāśiva, the form of Shiva who is the focal divinity of that school of Shaivism. The oldest example of a lingam which is still used for worship is in Gudimallam. According to Klaus Klostermaier, it is clearly a phallic object, and dates to the 2nd century BC. A figure of Shiva is carved into the front of the lingam. British missionary William Ward criticized the worship of the lingam (along with virtually all other Indian religious rituals) in his influential 1815 book A View of the History, Literature, and Mythology of the Hindoos, calling it "the last state of degradation to which human nature can be driven", and stating that its symbolism was "too gross, even when refined as much as possible, to meet the public eye." According to Brian Pennington, Ward's book "became a centerpiece in the British construction of Hinduism and in the political and economic domination of the subcontinent." In 1825, however, Horace Hayman Wilson's work on the lingayat sect of South India attempted to refute popular British notions that the lingam graphically represented a human organ and that it aroused erotic emotions in its devotees. Monier-Williams wrote in Brahmanism and Hinduism that the symbol of linga is "never in the mind of a Saiva (or Siva-worshipper) connected with indecent ideas, nor with sexual love." According to Jeaneane Fowler, the linga is "a phallic symbol which represents the potent energy which is manifest in the cosmos." Some scholars, such as David James Smith, believe that throughout its history the lingam has represented the phallus; others, such as N. Ramachandra Bhatt, believe the phallic interpretation to be a later addition. M. K. V. Narayan distinguishes the Siva-linga from anthropomorphic representations of Siva, and notes its absence from Vedic literature, and its interpretation as a phallus in Tantric sources. Ramakrishna practiced Jivanta-linga-puja, or "worship of the living lingam". At the Paris Congress of the History of Religions in 1900, Ramakrishna's follower Swami Vivekananda argued that the Shiva-Linga had its origin in the idea of the Yupa-Stambha or Skambha—the sacrificial post, idealized in Vedic ritual as the symbol of the Eternal Brahman. This was in response to a paper read by Gustav Oppert, a German Orientalist, who traced the origin of the Shalagrama-Shila and the Shiva-Linga to phallicism. According to Vivekananda, the explanation of the Shalagrama-Shila as a phallic emblem was an imaginary invention. Vivekananda argued that the explanation of the Shiva-Linga as a phallic emblem was brought forward by the most thoughtless, and was forthcoming in India in her most degraded times, those of the downfall of Buddhism. According to Swami Sivananda, the view that the Shiva lingam represents the phallus is a mistake; The same sentiments have also been expressed by H. H. Wilson in 1840. The novelist Christopher Isherwood also addresses the interpretation of the linga as a sex symbol. The Britannica encyclopedia entry on lingam also notes that the lingam is not considered to be a phallic symbol; Wendy Doniger, an American scholar of the history of religions, states: However, Professor Doniger clarified her viewpoints in a later book, The Hindus: An Alternative History, by noting that some texts treat the linga as an aniconic pillar of light or an as an abstract symbol of God with no sexual reference and comments on the varying interpretations of the linga from phallic to abstract. According to Hélène Brunner, the lines traced on the front side of the linga, which are prescribed in medieval manuals about temple foundation and are a feature even of modern sculptures, appear to be intended to suggest a stylised glans, and some features of the installation process seem intended to echo sexual congress. Scholars like S. N.Balagangadhara have disputed the sexual meaning of lingam. An ice lingam at Amarnath in the western Himalayas forms every winter from ice dripping on the floor of a cave and freezing like a stalagmite. It is very popular with pilgrims. Shivling (6543m) is also a mountain in Uttarakhand (the Garhwal region of Himalayas). It arises as a sheer pyramid above the snout of the Gangotri Glacier. The mountain resembles a Shiva linga when viewed from certain angles, especially when travelling or trekking from Gangotri to Gomukh as a part of a traditional Hindu pilgrimage.
Hemadpanthi Sculpture is an architectural style, named after its founder, the prime minister Hemadpant from the court of Seuna Yadavas of Devagiri. This building style was formed during the 13th Century in Maharashtra, and incorporated black stone and lime, which were readily available.
The Endless Summer is a seminal 1966 surf movie. Filmmaker/narrator Bruce Brown follows two surfers, Mike Hynson and Robert August, on a surfing trip around the world. Despite the balmy climate of their native California, cold ocean currents make local beaches inhospitable during the winter. They travel to the coasts of Australia, New Zealand, South Africa, Tahiti and Hawaii in a quest for new surf spots and introduce locals to the sport. Other important surfers of the time, such as Miki Dora, Phil Edwards and Butch Van Artsdalen, also appear. Its title comes from the idea, expressed at both the beginning and end of the film, that if one had enough time and money it would be possible to follow the summer around the world, making it endless. The concept of the film was born through the suggestion of a travel agent to Bruce Brown during the planning stages of the film. The travel agent suggested that the flight from Los Angeles to Cape Town, South Africa and back would cost $50 more than a trip circumnavigating the world. After which, Bruce came up with the idea of following the summer season by traveling around the world. The narrative presentation eases from the stiff and formal documentary of the 1950s and early 1960s to a more casual and fun-loving personal style filled with sly humor. The surf-rock soundtrack to the film was provided by The Sandals. The "Theme to the Endless Summer" was written by Gaston Georis and John Blakeley of the Sandals. It has become one of the best known film themes in the surf movie genre. When the movie was first shown, it encouraged many surfers to go abroad, giving birth to the "surf-and-travel" culture, which prizes finding "uncrowded surf", meeting new people and riding the perfect wave. It also introduced the sport, which had become popular outside of Hawaii and the Polynesian Islands in places like California and Australia, to a broader audience. In addition, it set the style for later surf-and-travel movies, including Momentum, (These Are) Better Days, and Thicker Than Water. Bruce Brown started surfing in the early 1950s. He took still photographs to show his mother what the draw of the sport was. While serving in the United States Navy on Oahu years later, he used an 8 mm movie camera to photograph surfers from California. Once Brown got back to the state, he edited his footage into an hour-long film. Surfer Dale Velzy showed it at his San Clemente shop, charging 25 cents for admission. Velzy bought Brown a 16 mm camera and together they raised $5,000 to make Slippery When Wet, Brown's first "real" surf film. In the winter of 1958, Brown went back to Hawaii to film the North Shore's big surf. On the plane ride over, the novice filmmaker read a book about how to make movies. Brown said, "I never had formal training in filmmaking and that probably worked to my advantage". By 1962, he had spent five years making one surf film per year. He would shoot during the fall and winter months, edit during the spring and show the finished product during the summer. Brown remembered, "I felt if I could take two years to make a film, maybe I could make something special". To do this, he would need a bigger budget than he had on previous films. To raise the $50,000 budget for The Endless Summer, Brown took the best footage from his four previous films and made Waterlogged. Brown took his completed film to several Hollywood studio distributors but was rejected because they did not think it would have mainstream appeal. In January, he took The Endless Summer to Wichita, Kansas for two weeks where moviegoers lined up in snowy weather in the middle of winter and it went on to selling out multiple screenings. Distributors were still not convinced and Brown rented a theater in New York City where his film ran successfully for a year. After the success of the run at New York's Kips Bay Theater, Don Rugoff of Cinema 5 distribution said he did not want the film or poster changed and wanted them distributed as is, thus Brown selected him over other distributors who wished to alter the poster. When The Endless Summer debuted, it grossed over $20 Million. Roger Ebert said of Brown's work, "the beautiful photography he brought home almost makes you wonder if Hollywood hasn't been trying too hard". Time magazine wrote, "Brown leaves analysis of the surf-cult mystique to seagoing sociologists, but demonstrates quite spiritedly that some of the brave souls mistaken for beachniks are, in fact, converts to a difficult, dangerous and dazzling sport". In his review for The New York Times, Robert Alden wrote, "the subject matter itself — the challenge and the joy of a sport that is part swimming, part skiing, part sky-diving and part Russian roulette — is buoyant fun". The then-unknown break off Cape St. Francis in South Africa became one of the world's most famous surfing sites thanks to The Endless Summer. In 2002, The Endless Summer was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 1994, Brown released a sequel, The Endless Summer II, in which surfers Pat O'Connell and Robert "Wingnut" Weaver retrace the steps of Hynson and August. It shows the growth and evolution of the surfing scene since the first film, which presented only classic longboard surfing. O'Connell rides a shortboard, which was developed in the time between the two movies, and there are scenes of windsurfing and bodyboarding. The film illustrates how far surfing had spread, with footage of surf sessions in France, South Africa, Costa Rica, Bali, Java, and even Alaska. In 2000, Dana Brown, Bruce's son, released The Endless Summer Revisited, which consisted of unused footage from the first two films, as well as original cast interviews.
"Endless Love" is a song written by Lionel Richie and originally recorded as a duet between Richie and fellow soul singer Diana Ross. In this ballad, the singers declare their "endless love" for one another. It was covered by soul singer Luther Vandross with R&B singer Mariah Carey and also by country music singer Kenny Rogers. Billboard has named it the greatest song duet of all time. Ross and Richie recorded the song for Motown, and it was used as the theme for the Franco Zeffirelli's film Endless Love starring Brooke Shields. Produced by Richie and arranged by Gene Page, it was released as a single from the film's soundtrack in 1981. While the film Endless Love was not a success, the song became the second biggest-selling single of the year (first was "Bette Davis Eyes" by Kim Carnes) in the U.S. and reached number 1 on the Hot 100, where it stayed for nine weeks from August 15 to October 10, 1981. It also topped the Billboard R&B chart and the Adult Contemporary chart, and reached number 7 in the UK. The soulful composition became the biggest-selling single of Ross' career and her 18th career number-one single (including her work with The Supremes), while it was the first of several hits for Richie during the 1980s. Ross recorded a solo version of the song for her first RCA Records album, Why Do Fools Fall in Love, the duet version being her last hit on Motown. The song was nominated for an Academy Award for Best Original Song for Richie, and was the second song with which Ross was involved that was nominated for an Oscar. It also won a 1982 American Music Award for Favorite Pop/Rock Single. Walter Afanasieff produced Luther Vandross and Mariah Carey's cover of the song for Vandross' Epic Records-released album Songs, and it is known for being Carey's first "high-profile" duet (an earlier duet, "I'll Be There," was with the then-unknown background singer Trey Lorenz). At the 1995 Grammy Award's, the song was nominated in the new category of Best Pop Performance by a Duo or Group with Vocal, losing to "Funny How Time Slips Away" by Al Green and Lyle Lovett. Columbia Records later included the song on Carey's compilation album Greatest Hits (2001) and then again on her next compilation album, The Ballads (2008). It was released as the second single from Songs in 1994. Sony Music Entertainment President Tommy Mottola suggested that Vandross record Songs, an album of cover versions. Featuring Vandross' versions of songs like Stephen Stills' "Love the One You're With," Heatwave's "Always and Forever," and Roberta Flack's "Killing Me Softly," the album was shaping up to be a major career accomplishment. To give the album a bigger boost, Mottola's wife, Mariah Carey, came up with the idea to remake "Endless Love" as a duet with her. Lionel Richie and Diana Ross had originally recorded "Endless Love" in 1981, and the song spent nine weeks at number 1. Although Luther's album was already set to contain one Lionel Richie composition, "Hello," it was obvious that having the most-popular female singer on the Sony label singing on the album would be a benefit. 7" Single Japanese 3" CD Single UK & European CD Maxi Single "Endless Love" debuted on September 10, 1994 at number 31 and peaked at number 2 being held back from the top position by Boyz II Men's "I'll Make Love to You". The song became Luther Vandross' biggest pop hit ever and gave Lionel Richie his first top ten as a songwriter in seven years. It became Vandross's fifth top-ten single and Carey's twelfth. It remained in the top forty for thirteen weeks, and was ranked number 56 on the Hot 100 1994 year-end charts. It was also an improvement over Carey's previous single, "Anytime You Need a Friend," which had missed the top ten. It was certified gold by the RIAA. The song was a success outside the U.S, reaching the top of the chart in New Zealand (for five weeks) and the top five in the United Kingdom, Australia, Ireland, and the Netherlands. It also reached the top 20 in most of the countries. It was certified gold in Australia by ARIA and in New Zealand by RIANZ. Total sales in the UK stand at 230,000. Two music videos were released for the single; one features Carey and Vandross recording the song in a studio, and the other shows the two performing the song live at Royal Albert Hall. The latter performance is included on the Luther Vandross: From Luther with Love music video collection in DVD format. Some versions of the song itself were released, in which Carey or Vandross sings solo. *sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone Lionel Richie re-recorded the song in 2011 as a duet with country singer Shania Twain. It was released as the lead single from his album Tuskegee on February 7, 2012. The recording process of song was documented in the final episode of Twain's reality docudrama series, Why Not? with Shania Twain, which aired on June 12, 2011. A music video for the song was recorded in the Bahamas in February 2012. The video, directed by Paul Boyd, was released to country music channels CMT and GAC on March 23, 2012. The song was included in Adam Sandler's movie Happy Gilmore when Happy and his girlfriend Virginia are ice skating, and the song begins to play. Virginia says to Happy "I thought we were just going to be friends." To which he responds, "What, friends listen to 'Endless Love' in the dark?" In A Night at the Roxbury, there was a wedding going on with the couple singing the song, and the Butabis were dancing. The song was included as well in the third season of Friends, in which Phoebe walks into Chandler's apartment, to find him singing the song and holding Lionel Richie's first album (even though the song is included on his fourth album, Back to Front). On an episode of The Steve Harvey Show, Steve and Regina perform the song at a janitor's urging (who thought they were Ross and Richie); at the end of the song, the janitor quips "no wonder you guys haven't had a hit in a while." On an episode of Glee Matthew Morrison, the Glee Club instructor and Lea Michele as one of his students (Rachel) sing the song as a duet in class with Lea Michele remarking in an interior monologue, "I never noticed before, but Mr. Shue is really cute." This leads to a series of increasingly embarrassing high school crush scenes. The song has been performed four times on American Idol, by Rickey Smith, Chris Sligh, Danny Gokey, and Deandre Brackensick. The song was also performed on Australian Idol in 2007 by eventual winner Natalie Gauci on the Final 7 Birth Year (the contestants performed songs from the year they were born) theme night. It was also performed by Whitney Houston and her brother Gary Houston in some of her 1997-1998 concerts, including the Classic Whitney concert in Washington D.C.
The Crumbles Murders may refer to one of two crimes that took place on "The Crumbles", a shingle beach between Eastbourne and Pevensey Bay — the 1920 murder of Irene Munro by Field and Gray, and the 1924 murder of Emily Kaye, a pregnant woman, by Patrick Mahon. Irene Munro, a young London typist on holiday, was murdered by Jack Alfred Field and William Thomas Gray on 19 August 1920. Her body was buried in the shingle of the beach. Field and Gray were tried at Lewes assizes in December 1920 and convicted. This case was handled by forensic pathologist Sir Bernard Spilsbury. The butchered remains of Emily Kaye and her unborn fetus were found mostly in a beach house at The Crumbles, which she had shared with her married lover Patrick Mahon. Four large sections, 37 smaller fragments and various internal organs were found: Spilsbury was able to reconstruct the body, but could not unambiguously determine the cause of death. Dubbed 'the Man of Prey' by the press, Mahon was tried in Sussex before Justice Avory, (whose contempt for the prisoner shone through in his summing up) convicted and hanged for the crime. The execution took place at Wandsworth Prison in London, in early September, 1924, with differing sources giving the 2nd, 3rd and the 9th as the exact date. Anecdotal accounts suggest that Mahon offered resistance on the scaffold, apparently attempting to jump clear of the trap when the lever was pulled. A 1976 film was made of this case, Killers: The Crumbles Murder. In 1984 the Australian group Severed Heads used narration from a description of the Emily Kaye murder, in a radio programme by renowned true crime writer Edgar Lustgarten, as backing for their song "Dead Eyes Opened."
The Vernal Utah Temple is the fifty-first temple of The Church of Jesus Christ of Latter-day Saints (LDS Church). Located in Vernal it is the tenth LDS temple built in the state of Utah. Upon its dedication November 2, 1997, the Vernal Temple was unique as the only LDS temple built from a previously-existing structure. Since 1997, the Copenhagen Denmark and Manhattan New York temples have been similarly adapted from existing structures. Originally, the building served as the Uintah Stake Tabernacle for Latter-day Saints in eastern Utah. The Tabernacle's foundation was constructed of nearby sandstone with walls built of four layers of fired brick from local clay. The building was built with considerable donated labor from the fall of 1899 until it was dedicated on August 24, 1907 by LDS Church president Joseph F. Smith. Smith reportedly said he would not be surprised if a temple was built there some day. Relative to other LDS Tabernacles, Roger Jackson characterized the Uintah Stake Tabernacle as relatively modest, without the decorative details found on Tabernacles in central and northern Utah. Nonetheless, he wrote, "the building is the most prominent structure in Vernal and considered the finest building in all of eastern Utah." The tabernacle was superseded by an adjacent, more modern LDS stake center in 1948. Only used irregularly thereafter, the LDS Church announced the Tabernacle's closing in 1984 for public safety reasons. Among other things, the Tabernacle lacked indoor bathrooms and access for the disabled. A local "Save the Tabernacle" committee formed, and in 1989 a preservation study was prepared. The LDS Church opted to turn the building into one of its new smaller temples, and plans were announced in 1994. In addition to preserving the exterior, bringing the building up to code, and altering the floor plan, the eastern spire of the temple was elongated to make it taller than the spire of the neighboring stake center. A golden statue of angel Moroni was placed on top of the spire facing east, a common element of almost all LDS Temples. Over 120,000 visited the temple during its two week open house in October 1997.
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