Motorcycle Crash Ends With Biker Standing On The Car Roof

Every now and then a video comes along that leaves you speechless, and this motorcycle crash is one of those.

This incredible video captured using a dash camera shows the moment that a motorcyclist crashes into the back of a car on the motorway.

Rather than ending in disaster the rider is unbelievably flipped over his bike, landing feet first on the roof of the car. If that wasn’t enough, he keeps his balance, on a moving car, on the motorway, probably moving at over 60mph.

– This Is The Most Badass Motorcycle Accident You’ll Ever See In Your Life

That has to be the best landing ever caught on tape — in any situation.

– Biker crashes into car, lands standing on its roof

– Spider-Man has some competition.

– Only In Russia: Biker Crashes Into Car And Does Insane Flip To Land On Roof

– Motorcyclist crashes, flips and sticks a perfect landing on a car’s roof

– Motorcyclist crash and perfectly lands on a car’s roof

– Biker Crashes Into Car, Ends Up Standing On The Roof

– Luckiest Biker in Belarus Front Flips onto the Roof of a Moving Car after Motorcycle Crash

The luckiest and the most acrobatic motorcycle crash ever caught on a dash-cam. Happened in the city of Mogilev, Belarus.

– Man escapes motorcycle crash by flipping onto car

– This Is The Most Insane Acrobatic Motorcycle Crash You Will Ever See

– Dashcam captures biker’s ‘spiderman’ recovery after high speed crash

Krokodil (crocodil) The drug that eats junkies (Extremely Graphic)

It is desomorphine, a synthetic opiate many times more powerful than heroin that is created from a complex chain of mixing and chemical reactions, which the addicts perform from memory several times a day. While heroin costs from £20 to £60 per dose, desomorphine can be “cooked” from codeine-based headache pills that cost £2 per pack, and other household ingredients available cheaply from the markets.

It is a drug for the poor, and its effects are horrific. It was given its reptilian name because its poisonous ingredients quickly turn the skin scaly. Worse follows.

Russian drug “Crocodile” has reached epidemic levels. Almost one million people within the population use the drug. And it is very difficult to impossible to recover from this addiction – not enough time. A man addicted to the drug can die within 2-3 years of ‘therapy’. This drug affects the entire boyd, but in the place where it was given, the skin takes on greenish hue, and becomes covered with scales like the crocodile; then the skin starts to peel off and dies. That is why the drug is called “Crocodile”. In the end most individuals succumb to gangrene and amputation.

“Pavlov said that her turning point was 2008, in her brother’s kitchen. For almost two weeks she did nothing else, and the entire time only used the” crocodile “. Getting high lasts about half an hour, but it takes an hour to make the drug. So, I viriausi badžiausi and did the drug almost 24 hours a day,”- said the girl. Finally, the wound began to turn gangrene, and blood poisoning began. She went to a hospital and there she was invited to apply to the rehabilitation center. Pavlov agreed. That she would be away from the temptations offered to treat her in a remote area Čičeve. True, the distance was a specific barrier – In 2009, she managed to escape from the rehabilitation center, hail a car pakeleivingą to Moscow and from there by train to go home to Vorkuta to again be able to get a “crocodile”. Now she hopes that she will be able to overcome the addiction. “I can not go back to that. When it began, it was great. But what happened later … it was hell, “- she says. If Pavlov will be able to overcome this terrible addiction, it is very rare exception in the fight against a terrible new epidemic raging in Russia, which have already been meetings and to prepare the country’s president, Dmitry Medvedev. ”


MOVIE: Salò, or the 120 Days of Sodom

Salò, or the 120 Days of Sodom (ItalianSalò o le 120 giornate di Sodoma), commonly referred to as simply Salò, is a 1975 Italian art film written and directed by Pier Paolo Pasolini, with uncredited writing contributions by Pupi Avati.[2][3] It is based on the book The 120 Days of Sodom, by the Marquis de Sade. The story is in four segments, inspired by Dante‘s Inferno: the Anteinferno, the Circle of Manias, the Circle of Shit and the Circle of Blood. The film also contains frequent references to and several discussions of Friedrich Nietzsche‘s 1887 book Zur Genealogie der Moral: Eine StreitschriftEzra Pound‘s poem The Cantos, and Marcel Proust‘s novel In Search of Lost Time. It was Pasolini’s last film; he was murdered shortly before Salò was released. Because of its scenes depicting intensely graphic violence, sadism and sexual depravity, the film was extremely controversial upon its release, and remains banned in several countries.

The film focuses on four wealthy, corrupt fascist libertines after the fall of Benito Mussolini‘s Italy in July 1943. The libertines kidnap eighteen teenage boys and girls and subject them to four months of extreme violence, sadism, and sexual and mental torture. The film is noted for exploring the themes of political corruption, abuse of power, sadism, perversion, sexuality and fascism.

Although it remains a controversial film, it has been praised by various film historians and critics, and, while not typically considered a horror film,[citation needed] Salò was named the 65th scariest film ever made by the Chicago Film Critics Association in 2006[4] and is the subject of an article in The Penguin Encyclopedia of Horror and the Supernatural (1986).[5]



In Republic of Salò, the Fascist-occupied portion of Italy, in 1944, four wealthy men of power, the Duke, the Bishop, the Magistrate, and the President, agree to marry each other’s daughters as the first step in a debauched ritual. They recruit four teenage boys to act as guards and four young soldiers (called “studs”, “cockmongers”, or “fuckers”), who are chosen because of their big penises. They then kidnap nine young men and nine young women and take them to a palace near Salò. Accompanying them are four middle-aged prostitutes, also collaborators, who recount arousing stories for the men of power, who, in turn, sadistically exploit their victims.

The story depicts some of the many days at the palace, during which the four men devise increasingly abhorrent tortures and humiliations for their own pleasure. In the Anteinferno segment, the captures of some victims by the collaborators are shown, and, later, the four lords examine them. The Circle of Manias presents some of the stories in the first part of Sade’s book, told by Signora Vaccari (Hélène Surgère). The Magistrate urges her to tell them every last detail in her stories.

During breakfast, the daughters enter the dining hall naked to serve food. One of the studs trips a daughter and rapes her in front of the crowd. The four men of power, the whores, the guards, and the other studs laugh at her cries of pain. Intrigued, the President moons several slaves before making the stud have anal sex with him as well. Two victims are forced to marry. The ceremony is interrupted for a short time when the Duke fondles several victims and whores. When the ceremony ends, the bride and groom are forced to fondle each other in front of the men, who rape them to stop them from having sex with each other, during which the Magistrate engages with the Duke in three-way intercourse by worshiping his buttocks before penetrating his anus with his penis.

Another day begins with the victims being forced to act like dogs. When one of the victims, Lamberto, refuses to do so, the Magistrate forces him before whipping him. The Magistrate tortures his daughter by tricking her into eating food containing nails.

The next day, the Duke shares a passionate kiss with the boy Rino, who, seemingly attracted to him, kisses the Magistrate. One girl expresses her sadness over the situation. She tells Eva, her friend, that she does not think she can take much more.

In the Circle of Shit, non-penetrative sex gives way to coprophagia. As Signora Maggi tells her story, the President notices that one of the studs seated next to him has an erection and fondles the stud’s penis through his pants. Another stud uses a female victim’s hand to masturbates himself.

As the story continues, Signora Maggi tells how she killed her mother, and Renata cries, remembering the murder of her own mother. The Duke, sexually excited at the sound of her cries, begins verbally abusing her. She begs him to stop, which makes him more ruthless. The Duke orders the guards and studs to undress her. During this, she begs God for death, and the Duke punishes her by defecating in front of her and forcing her to eat his feces, making Rino rub his genitals as she does so. The President exits the chamber to masturbate. Later, the other victims are presented a meal of human feces. Graziella again tells her friend that she does not think she can take much more. During a search for which victim has the most beautiful buttocks, Franco is picked and is promised death in the future.

The Circle of Blood starts with a black mass-like wedding between the studs and the men of power. The men angrily order the children to laugh, but they are too grief-stricken to do so. The Pianist and Signora Vaccari tell jokes to make the victims laugh. The wedding ceremony ensues with each men of power exchanging rings with the studs. After the wedding, the Bishop is sodomized by his stud. After, the stud refers to his huge penis as the Bishop’s “friend”, which will be available for his enjoyment in the future. The Bishop then leaves to examine the captives in their rooms, where they start systematically betraying each other: Claudio reveals that Graziella is hiding a photograph, Graziella reveals that Eva and Antiniska are having a secret sexual affair, and a collaborator and the black servant are shot after being found having sex. The victim Umberto Chessari is appointed to replace Ezio. Toward the end, the remaining victims are called out to determine which of them will be punished. Graziella is spared due to her betrayal of Eva (whose name is not called and who is absent in this scene), and Rino is spared due to his submissive relationship with the Duke. Those who are called are given a blue ribbon and are sentenced to a painful death. The victims huddle together and cry, pray and one in particular begins to react from the horrible meals he’s been fed. They are then murdered through methods such as branding, hanging, scalping, and having their tongues and eyes cut out, as each libertine takes his turn to watch as voyeur. The soldiers shake hands and bid farewell, and the Pianist commits suicide due to her grief.

The film’s final shot is of two young soldiers, who had witnessed and collaborated in all the atrocities, waltzing together.



  • Paolo Bonacelli as The Duke (Duke of Blangis); tall, strongly built, bearded, chauvinistic, and very sadistic; enjoys tormenting female victims with verbal abuse and degrading them, his favorite victims being Renata and Fatimah. Highly sexually potent. Shows loving feelings for the male victim Rino and allows him to live at the end.
  • Giorgio Cataldi as The Bishop; extremely sadistic. Writes down several victim’s names for punishment. May have a soft spot for Graziella.
  • Umberto P. Quintavalle as The Magistrate; mustachioed sadomasochist; fit and balding; enjoys bullying the victims, yet shows joy from being sodomized. Very strict.
  • Aldo Valletti as The President; scrawny, weak and crude. He enjoys dark humor and painful penetration to himself and others. He is passionate about anal sex even when having sex with women and girls, refusing to have vaginal intercourse with them.
  • Caterina Boratto as Signora Catelli, a prideful, cruel whore who jokes about horrible instances. Tells stories during the Circle of Blood
  • Elsa De Giorgi as Signora Maggi, a coprophiliac who finds no shame in defecating in front of others. Committed matricide for a nobleman. Tells stories during the Circle of Shit.
  • Hélène Surgère as Signora Vaccari; lively and polite, she was molested as a very young child, but enjoyed it. Tells stories during the Circle of Manias.
  • Sonia Saviange as The Pianist; soft-spoken, she plays continuously during the day, but is secretly very distressed at the actions around her. Commits suicide during the final day.
  • Ezio Manni as The Collaborator, a guard who falls in love with the Slave girl. He is aware of his fate when he is found out, and is shot to death while holding his fist in the air in a socialist salute.
  • Inès Pellegrini as The Slave Girl, a black slave in love with the Collaborator. Disobeyed orders by engaging in intercourse without the presence of the Masters. Is shot after the Collaborator.

Male victims[edit]

  • Sergio Fascetti – Forced to marry, but kept from actual intercourse. He is then raped by the Duke. In the end, he is branded.
  • Bruno Musso – As Carlo Porro in the film. Outspoken. Shows a foul mouth even to the Men of Power. One of the Magistrate’s favorite victims of bullying. In the end, he has his left eye gouged out.
  • Antonio Orlando – As Tonino. Killed by having his penis burned off.
  • Claudio Cicchetti – Confesses to the Bishop about Graziella’s photograph, leading to a chain of revealed secrets.
  • Franco Merli – Prideful and youthful. Tricked into his position with a promise of sex with an attractive girl. Said to have the most beautiful buttocks. Nearly killed midway through the film, but spared on a promise of a worse future death. He is killed at the end by having his tongue cut off.
  • Umberto Chessari – Selected to replace Ezio as Collaborator after Ezio is shot to death.
  • Lamberto Book – As Lamberto Gobbi in the film. Refuses to eat like dogs, and is whipped by the Magistrate.
  • Gaspare di Jenno – As Rino in the film. A slightly masochistic homosexual and the Duke’s favorite. He has sexual feelings for the Duke and is therefore the only victim who is not tortured during his time at the palace. In the end, he is spared death for his good behavior.

Female victims[edit]

  • Giuliana Melis – Unlike the book, she is killed.
  • Faridah Malik’ – As Fatimah in the film. A common victim of both the Duke’s sexism and the Magistrate’s bullying. In the end, she is scalped.
  • Graziella Aniceto – Finds her time at the Palace unbearable and is calmed by Dorit and Eva, the latter of which she betrays. She is left alive at the film’s end along with Rino.
  • Renata Moar – Forced into the palace just not long after witnessing the death of her mother. She is forced to marry Sergio, before being raped by the President. When she hears that they killed her mother, she begs God for death. The Duke enjoys tormenting her and at one point forces her to consume his feces. She is killed at the end, having burned her breasts.
  • Dorit Henke – Beautiful, and rebellious and the most undisciplined in the girls.
  • Antiniska Nemour – In love with Eva.
  • Benedetta Gaetani – Attempts to run away. As a result, she is quickly murdered.
  • Olga Andreis – As Eva in the film. Soft-spoken. Friends with Graziella and a lesbian relationship with Antiniska.



Salò transposes the setting of the Marquis de Sade‘s book from 18th-century France to the last days of Benito Mussolini‘s regime in the Republic of Salò. Salò, a nickname for the Italian Social Republic (RSI) (because Mussolini ruled from this northern town rather than from Rome), which was a puppet state of Nazi Germany.



Salò has been banned in several countries, because of its graphic portrayals of rape, torture, and murder – mainly of people thought to be younger than eighteen years of age. The film remains banned in several countries to this day.

Salò was rejected by the British Board of Film Censors (BBFC) in January 1976. It was first screened at the Old Compton Street cinema club in Soho, London in 1977, in an uncut form and without certification from BBFC secretary James Ferman; the premises were raided by the Metropolitan Police after a few days. A cut version prepared under Ferman’s supervision, again without formal certification, was subsequently screened under cinema club conditions for some years. In 2000, in an uncut form, the film was finally passed for theatrical and video distribution in the United Kingdom.[6]

In 1994, an undercover policeman in Cincinnati, Ohio rented the film from a local gay bookstore, and then arrested the owners for “pandering“. A large group of artists, including Martin Scorsese and Alec Baldwin, and scholars signed a legal brief arguing the film’s artistic merit; the Court dismissed the case because the police violated the owners’ Fourth Amendment rights, without reaching the question of whether the film was obscene.[7]

It was banned in Australia in 1976 for reasons of indecency. After a 17-year long ban, the Australian Classification Board passed the film with a R-18 + (for 18 and up only) uncut for theatrical release in July 1993. However, the Australian Classification Review Board met to confirm the R-18 + rating decision made by the Classification Board on the film and then subsequently posed an Australia-wide ban in February 1998 for “offensive cruelty with high impact, sexual violence and depictions of offensive and revolting fetishes” and consequently banning the film outright in Australia at the time and the film was then shut down from all Australian cinemas. Salò was resubmitted for classification in Australia in 2008, only to be rejected once again.[8] The DVD print was apparently a modified version, causing outrage in the media over censorship and freedom of speech. In 2010, the film was submitted again, and passed once again with an R 18+ rating. According to the Australian Classification Board media release, the DVD was passed due to “the inclusion of 176 minutes of additional material which provided a context to the feature film.” However the media release also stated that “The Classification Board wishes to emphasise that this film is classified R 18+ based on the fact that it contains additional material. Screening this film in a cinema without the additional material would constitute a breach of classification laws.”[9] The majority opinion of the board stated that the inclusion of additional material on the DVD “facilitates wider consideration of the context of the film which results in the impact being no more than high.”[10] This decision came under attack by Family Voice Australia (formerly theFestival of Light Australia), the Australian Christian Lobby and Liberal Party of Australia Senator Julian McGauran,[11] who tried to have the lifted ban overturned, but the Board refused, stating “The film has aged plus there is bonus material that clearly shows it is fiction.”[12][13] The film was released on Blu-ray Disc and DVD on 8 September 2010.[14][15]

In New Zealand, the film was originally banned in 1976. The ban was upheld in 1993. In 1997, special permission was granted for the film to be screened uncut at a film festival. In 2001, the DVD was finally passed uncut with an ‘R18’ rating.[16]

Documentaries about the film[edit]

An exhibition of photographs by Fabian Cevallos depicting scenes which were edited out of the film was displayed in 2005, in Rome. Italian filmmaker Giuseppe Bertolucci released a documentary in 2006, Pasolini prossimo nostro, based on an interview with Pasolini done on the set of Salò in 1975. The documentary also included photographs taken on the set of the film. The film is also the subject of a 2001 documentary written and directed by Mark Kermode.


The film is considered a masterpiece by some artists. Acclaimed director Michael Haneke named the film his fourth favorite film when he voted for the 2002 Sight and Sound poll; director Catherine Breillat and film critic Joel David also voted for the film.[17] David Cross named it one of his favorite films.[18] Rainer Werner Fassbinder also cites it as one of his 10 favorite movies.[19] A 2000 poll of critics conducted by The Village Voice named it the 89th greatest film of the 20th century.[20] In 2006, the Chicago Film Critics Association named Salò the 65th scariest film ever made.[4] In 2010, the Toronto International Film Festival placed it at No. 47 on its list of The Essential 100 films.[21] Director John Waters is a huge fan of Salo, stating that, “Salo is a beautiful film…it uses obscenity in an intelligent way…and it’s about the pornography of power.”[this quote needs a citation]

Alternative endings[edit]

It seems that Pasolini was undecided on what type of conclusion the film should have, to the point of having conceived and shot four different endings: the first was a shot of a red flag in the wind with the words “Love You,” but it was abandoned by the director because he thought it “too pompous” and “prone to the ethics of psychedelic youth” which he detested.[22] The second showed all the actors in the film, other than the four gentlemen, the director and his troupe perform a wild dance in a room of the villa furnished with red flags, and the scene was filmed with the purpose of using it as a background during the credits, but was discarded because it appeared, in the eyes of Pasolini, chaotic and unsatisfactory.[22] Another final scene, discovered recently and which was only in the initial draft of the script, showed, after the torture’s end, the four gentlemen walk out of the house and drawing conclusions about the morality of the whole affair.[23] Finally, keeping the idea of dance as the summation of carnage Pasolini chose to mount the so-called final “Margherita,” with the two young soldiers dancing.[22]


In 2008, British opera director David McVicar and Swiss conductor Philippe Jordan have produced a performance of Richard Strauss‘ 1905 opera Salome based on the film, setting it in a debauched palace in Nazi Germany, for the Royal Opera House in London, with Nadja Michael as SalomeMichaela Schuster as Herodias, Thomas Moser as HerodJoseph Kaiser as Narraboth, and Michael Volle as Jokanaan. This performance was recorded by Jonathan Haswell and later that year was released on DVD by Opus Arte.[24]

The Moon is Not Real: David Icke

David Icke visited the idea that the moon is not a heavenly body but that it is some sort of construct ­ a hollowed out planetoid.

I let this idea sit for several months, but this morning decided to look into it a bit.
On of the things Icke mentioned ­ something I had never considered ­ is that what are the chances that the moon just happens to exactly cover the sun during an eclipse?
(the odds are astronomical)

I came across a 2006 interview with one of the authors of the book Who Built The Moon? (Christopher Knight and Alan Butler) who presents a few thoughts on this idea.

“New Dawn recently spoke with Christopher Knight about his controversial new book and his astonishing conclusions.

NEW DAWN: All of mankind’s visits to the Moon have not answered some of the most basic questions about its origin and importance. Your new book Who Built the Moon? brings to light some extraordinary facts about the Moon, and comes to a mind-blowing conclusion about its origin. Could you briefly outline some of these little known and ignored facts?

CHRISTOPHER KNIGHT: The Moon sits very close to the Earth yet it is widely regarded as the strangest object in the known universe.

The book lists the strangeness of the Moon, which includes the fact that it does not have a solid core like every other planetary object. It is either hollow or has a very low-density interior. Bizarrely, its concentration of mass are located at a series of points just under its surface ­ which caused havoc with early lunar spacecraft

The Moon is not only extremely odd in its construction; it also behaves in a way that is nothing less than miraculous. It is exactly four hundred times smaller than the Sun but four hundred times closer to the Earth so that both the Sun and the Moon appear to be precisely the same size in the sky ­ which gives us the phenomenon we call a total eclipse. Whilst we take this for granted it has been called the biggest coincidence in the universe.

Furthermore, the Moon mirrors the movement of the Sun in the sky by rising and setting at the same point on the horizon as the Sun does at opposite solstices. For example, this means the Moon rises at midwinter at the same place the Sun does at midsummer. There is no logical reason why the Moon mimics the Sun in this way and it is only meaningful to a human standing on the Earth

ND: Your conclusion is there are more than enough anomalies about the Moon to suggest it is not a naturally occurring body and was quite possibly engineered to sustain life on Earth. How did you reach this conclusion?

CK: Not only is the Moon an apparently impossible object, it has some unique benefits for us humans. It has been nothing less than an incubator for life. If the Moon was not exactly the size, mass and distance that it has been at each stage of the Earth’s evolution ­ there would be no intelligent life here. Scientists are agreed that we owe everything to the Moon.

It acts as a stabilizer that holds our planet at just the right angle to produce the seasons and keep water liquid across most of the planet. Without our Moon the Earth would be as dead and solid as Venus.

ND: If the Moon is an artificial construct, what are your theories on who or what built it, and why?

CK: In Who Built the Moon? we explain that we could not come to any other conclusion than the Moon is artificial. Because it is certain that it is 4.6 billion years old that raises some interesting points. Another factor was the obvious message that has been built into the Moon to tell us it’s artificial.

The question of why the Moon had to be built is easy to answer: To produce all life, especially humans. As to who did it ­ well that’s a lot tougher!…

David Icke relates”I’ve found the Zulu legends to be the profoundly accurate in the way that they use symbolism to describes very profound scientific truths so, after I’d come up with all this stuff, I called Credo Mutwa, the Zulu shaman and the official historian for the Zulu nation, when I’d come up with all this stuff and asked him to tell me what are the Zulu legends of the moon.

Credo Mutwa tells me that the Zulus believe that the moon comes from far, far away and it was hollowed out like the yolk taken out of an egg ­ and it was rolled across the heavens by two reptilian entities, which he gives Zulu names for.

But when he describes these entities, they are a mirror of Enki and Enlil, the supposed leaders of the Anunnaki described in the Sumerian tablets from what we now call Iraq going back thousands of years.

He also went onto say that the Reptilians, Chitaulis he calls them, warned people that if they didn’t do as they said, they would move the moon ­ and cause devastation.”