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White line fever may refer to: Highway hypnosis, an altered mental state induced by driving great distances; White Line Fever, a 1975 American film "White Line Fever", a 1977 song by Motörhead from their debut album Motörhead; White Line Fever, an Australian-rules football show; White Line Fever, a 2002 autobiography by Lemmy
2 - Preacher Man/White Line Fever/Nacogdoches Gumbo/East Texas Freezeout/San Angelo Release/Rollin' to Killeen/Blowout/Devil's Highway/Midnight Standoff/Marchin' for Abilene (13:30) 3 - Hico Killer/Long Mile to Houston (4:46) Recorded (June 1987) and mixed (August 1987) by Don Hünerberg at NBC Radio City Studios, New York City
Sam Hummer is a local truck driver from Tucson, Arizona who works for a Tucson-based produce-shipper called "Red River". His driving partners are Duane Haller and "Pops" Dinwiddie.
An instrumental version was used in the movie White Line Fever (1975), as was another David Nichtern song, "Drifting and Dreaming of You". It was performed in American Pie at the prom. The song is sung by the singer from the lounge band in Bob Harris's (Bill Murray) hotel room shower in Sofia Coppola's film Lost in Translation.
Apart from the singles and the Thank You album, the song also appeared as a B-side on the first single from the album, "Perfect Day". A black-and-white music video was shot in January 1995 by Nick Egan, [22] featuring Duran Duran, Melle Mel, and the Furious Five performing the song accompanied by breakdancers and people in skeleton masks.
Highway hypnosis, also known as white line fever, is an altered mental state in which an automobile driver can drive lengthy distances and respond adequately to external events with no recollection of consciously having done so.
Of the 283 misleading X posts that CCDH analyzed, 209, or 74% of the posts, did not show accurate notes to all X users correcting false and misleading claims about the elections, the report said.
Removing the chord progression of the original, Madonna introduces original lyrics into the song. Instrumentation of the track includes strings, marimba and finger-pops at various intervals throughout. Rooksby noticed that Madonna sang with a distant and disembodied voice, and relegated it to the dance music accompanying the lyrics. [45]