Psychological operations

Jim Warren (born November 24, 1949, in Long Beach, California) is an American artist best known for book cover illustrations and surrealistic fantasy art. He has worked in surrealistic fantasy since about 1969. He has collaborated on paintings with marine life artist Wyland, and artist Michael Godard. Warren currently lives in Clearwater, Florida. A self-taught artist, Warren uses traditional oil paint and brushes on stretched canvas. Warren was born in Long Beach to Don and Betty Warren, and began painting as a child. His choice of an artistic career path was made in high school. The Art of Jim Warren: An American Original (Art Lover Products, 1997). ISBN 978-0-9658775-0-3. Painted Worlds (Paper Tiger Books, 2002) The Art of Jim Warren, 2015 "Against the Wind" is a song written and recorded by the American singer-songwriter Bob Seger for his eleventh studio album of the same name. It was released as the second single from the album in April 1980 through Capitol Records. Seger recorded the ballad during a two-year process that begat his eleventh album; it was recorded with producer Bill Szymczyk at Criteria Studios in north Miami, Florida. Sonically, "Against the Wind" is a mid-tempo soft rock tune with piano backing. It was recorded with Seger's Silver Bullet Band, and features backing vocals from Eagles co-frontman Glenn Frey. "Against the Wind" explores the space between care and indifference from friends and loved ones. It centers on maturation and memories, like many other Seger songs, and carries a tender, mellow tone. Seger pulled from his high school years as a cross-country runner to form the song's title–a metaphor for growing old. "Against the Wind" became one of Seger's most successful singles, reaching number five on the Billboard Hot 100. It also charted in Canada, Australia, and Belgium. It received high marks from music critics, with many praising Seger's songwriting. The song has been celebrated by generations of contemporary country artists, with covers ranging from Garth Brooks to Brooks & Dunn. Seger references a "Janey" in the opening lyrics of the song; this refers to Janey Dinsdale, with whom he had a long-term relationship from 1972 until 1983. In Rolling Stone, Seger elaborated on the song's meaning: Janey says to me all the time, 'You allow more people to walk on you than anybody I've ever known.' And I always say it's human nature that people are gonna love you sometimes and they're gonna use you sometimes. Knowing the difference between when people are using you and when people truly care about you, that's what "Against the Wind" is all about. The people in that song have weathered the storm, and it's made them much better that they've been able to do it and maintain whatever relationship. To get through is a real victory. In the tune, Seger second-guesses his career choice, particularly aspects of touring, which he describes as "moving eight miles a minute for months at a time." He mulls that he may have "lost [his] way," focusing too much attention on "breaking all of the rules that would bend." It famously includes the line "Wish I didn't know now what I didn't know then", which Seger later admitted bothered him for a while in a grammatical sense. The song "ends with a renewed determination to keep going"; as the song begins its outro, Seger concedes he is "older now, but still running against the wind." Its tone has been described as reflective and bittersweet. New York Times columnist Jon Pareles once characterized "Against the Wind" as a song about "crumbling hopes and the recognition of limits," while music critic Maury Dean considered its topic "all the burdens we'll ever have to face." Robert Hilburn, writing for the Los Angeles Times, described the song a "heartfelt expressions of the search for innocence and integrity in a world where both qualities seem in short supply." Though no music video was made for "Against the Wind" at the time of its release, a lyric video commemorating its fortieth anniversary saw release on YouTube in 2020. The clip showcases its songwriting atop "classic Seger imagery — animated horses, motorcycles, and vast American highways. Bob Seger – lead vocals, acoustic guitar, background vocals The Silver Bullet Band Drew Abbott – electric guitar Chris Campbell – bass David Teegarden – drums Additional musicians Glenn Frey – background vocals Paul Harris – piano, organ

Stålenhag spoke about his motivation behind The Labyrinth, his artistic process, and what it’s like seeing his work adapted into new mediums... "The Labyrinth is the result of the last few years of me exploring a true post-apocalyptic setting for the first time. I did a dystopian setting with The Electric State [in 2018], and I think Tales from the Loop is almost... not utopian, but it’s definitely not dystopian. So with The Labyrinth, I really wanted to do something that was post-apocalyptic because nothing else felt relevant. Going back to the styles I’ve done in the past, it didn’t feel like I could indulge that kind of fantasy. It’s a feel-good thing, and I didn’t feel very good about the world. So doing those ash-covered landscapes was the only thing that felt relevant. I start with the visual. It comes to me like dreams almost — that sounds pretentious — but like a vision. You get a visual idea that’s worth exploring, and then I start thinking about possible stories. I’ve seen people write stories about my pictures, and that’s pretty much what I do myself. I see the picture and then try to figure out what happens here or what could happen. While doing that, I take a lot of notes. I usually write on the iPhones Notes app. My phone is filled with them. I write an idea for a character, then I go out for a walk and realize everything I wrote is wrong. But instead of changing that note, I make a new one so I constantly keep redoing it and trying to tell the story as a little synopsis over and over. It changes each time while I’m working on the visuals, so it’s two separate processes. There’s a sketch phase where I do quicker sketches. I spend maybe two to three hours on a sketch so I get the colors, the composition, the tone. And then I do a series of maybe 10, 20, 30 of those with the same setting, same concept, but a progression, before I select one and spend maybe three to four days on it to make a final rendering. In The Labyrinth, there’s all these ash landscapes. I did sketches and took photos of Stockholm and did paint-overs in Photoshop of those photos. I probably had 60 or so. It was variations on the same theme, so that became one section of the book. Then I did all the interiors, that was a totally different process. For the interior research facility, I created very accurate 3D models of all these things, like the chairs and kitchen sink and the power sockets. I wanted it to be super real, existing stuff, super familiar. I couldn’t really do sketches because so much was depending on getting measurements. All the painting is in Photoshop these days. I use a Wacom pen with the MobileStudio Pro. For the 3D modeling, I use an architectural program called SketchUp. For my next book, I’m using a terrain simulation tool to create sand dunes and natural patterns that are mathematically calculated. That’s something I’ve been wanting to do for a long time. Those 3D environments become a basis for a painting in Photoshop. It’s part of the job to explore new technologies to find new imagery. I never read comic books. I wasn’t a comic book fan. When I started drawing as a kid, I was captured by paintings and naturalist painters who did very accurate renderings of birds and stuff like that. I always felt the comics I read here in Sweden were a bit sloppy. I’m just gonna shit on a whole line of work… Not that the artists were bad, but you can see they had to work fast. I always felt like doing a graphic novel that way, where you have a lot of different panels, I couldn’t do it with the kind of accuracy I wanted in terms of getting the whole environment, the whole atmosphere, and every little detail. To me, the environment and the mood was much more important than sequences. I also really liked poetry and stuff that has a more fragmentary dream-like quality to it. That was something that inspired me in terms of the prose. So I felt that you could probably do something with that — having these keyhole moments rendered, and having a text that is also a keyhole moment into a bigger world that you don’t get to see. It’s almost like a short film where you get a glimpse of something bigger but you don’t spoil it by giving away too much. Sometimes I feel like I hate my own aesthetic. I’ve seen it so much. But also, it’s so flattering to be part of an aesthetic movement and when people are influenced by my work. It’s really a complex situation where… I always have been very personal. I can’t change that much. I try to do different things, but to do something completely different I’d have to change into a different person, and I can’t. So I’m kind of scared that if I’m part of a trend, that trend will pass, but I won’t pass. I’m still gonna be me, and I’m getting older. I’m already thinking of those things, like I have to prepare for being irrelevant, basically, and not try to outsmart myself. It is hard to not be affected by it, but you don’t have much of a choice when it comes to things that appeal to you. I think most of it’s the ’80s references. I wish it was more about the personal stuff, but I think that was just good timing. When I studied game design, one of the projects we did was create concepts for a game, and my concept was to make a game set in mid-’80s small-town America with kids on BMX bikes and the government and some alien creatures. It was very much like Stranger Things, and this was in 2008. So that was obviously something that a lot of people were thinking about. We grew up watching E.T., and everybody was nostalgic about those films and music. There’s a weird coincidence in that it features police brutality and face masks — it has nothing to do with COVID or the protests in the US. I did it before they broke out. And that made me feel like I was afraid people might see this as a cheap exploitation of real-world events. There are a lot of faceless enforcers of state violence. That’s a theme in The Labyrinth. While doing this, those images started pouring in from the protests in the US. When I started thinking about it, it was from protests in Spain in 2016 or 2017, I remember thinking it’s so weird that a democracy can have these thugs on the payroll to do these things. For me, visually, that’s a crack in the facade. So I started exploring the visuals of that to design the uniforms and equipment used in the book, the scenes that featured those elements and violence. It felt really weird when I really saw stuff in the news... reality is worse than your imagination. Ah, it’s such a broad name. There’s many Labyrinths. But it is a reason to call it Simon Stålenhag’s The Labyrinth. I always wanted that. Like John Carpenter’s The Thing. I can have my own, this is my Labyrinth. There’s a lot of labyrinths visually in this — a game this kid is playing is a labyrinth. I was aware of that legendary film, so I tried to come up with a different name. But I just felt like this is a labyrinth. It has to be The Labyrinth."

Iline Meyer Ilene Meyer was a self-trained oil painter whose works combined realism and fantasy. At the age of seven she contributed work to a time capsule at Alki Point, Seattle. She made her career as an oil painter in the 1970s with her first solo exhibition in 1979. Her early work was based on the fruit and flowers she used as models, with real and imagined animals joining these as time progressed. Her work became popular in the fantasy art world, gracing the cover of books by James K. Morrow, Philip K. Dick, Marion Zimmer Bradley and other science fiction and fantasy authors. F.X. Schmid produced puzzles based on her paintings. She also became more popular in Japan than in her home country. "Skating Away on the Thin Ice of the New Day" was first released as on the War Child album in 1974. After the success of the album's lead-off single, "Bungle in the Jungle", in the US, "Skating Away on the Thin Ice of the New Day" was released as a follow-up in the US and Germany in 1975. The B-side of the single was "Sealion". It did not chart in Germany or on the Billboard charts in America, though it did reach number 75 on the Cashbox charts in the US. "Skating Away on the Thin Ice of the New Day" was written by Jethro Tull frontman Ian Anderson, who dubbed it his "first climate change song" due to its lyrics about the then-current concern over global cooling. He later explained, This was my first song talking about the issue of ecology and, in this specific case, climate change. Back in those days, scientists believed that we were heading towards a period of global cooling, that we could be heading towards a new ice age. And in fact, they realized that in fact, no, we're heading toward a period of global warming. So my song became kind of redundant. But the idea was sound. And I still have a fondness for it today, because it is talking with optimism about facing the changing world and a changing climate to which we have to adapt, bravely and optimistically. And it feels very apt and appropriate for today. Like other songs on War Child, "Skating Away on the Thin Ice of the New Day" was initially written as part of the "Chateau D'isaster Tapes", an early version of A Passion Play. An early version appears on the 2014 re-release of A Passion Play as a bonus track.

Street Survivors is the fifth studio album by the Southern rock band Lynyrd Skynyrd, released on October 17, 1977. The LP is the last Skynyrd album recorded by original members Ronnie Van Zant and Allen Collins, and is the sole Skynyrd studio recording by guitarist Steve Gaines. Three days after the album's release, the band's chartered airplane crashed en route to Baton Rouge, Louisiana, killing the pilot, co-pilot, the group's assistant road-manager and three band members (Van Zant, Gaines, and Gaines' older sister, backup singer Cassie Gaines), and severely injuring most who survived the crash. On October 20, 1977, only three days after the release of Street Survivors, and five shows into their most successful headlining tour to date, Lynyrd Skynyrd's chartered Convair CV-300 ran out of fuel near the end of their flight from Greenville, South Carolina, where they had just performed at the Greenville Memorial Auditorium, to LSU in Baton Rouge, Louisiana. Though the pilots attempted an emergency landing on a small airstrip, the plane crashed in a forest five miles (8 km) northeast of Gillsburg, Mississippi. Ronnie Van Zant, Steve Gaines, Cassie Gaines, assistant road manager Dean Kilpatrick, pilot Walter McCreary, and co-pilot William Gray, were killed on impact. The other band members (Collins, Rossington, Wilkeson, Powell, Pyle, and Hawkins), tour manager Ron Eckerman, and road crew survived, but suffered serious injuries. Following the crash and the ensuing press, Street Survivors became the band's second platinum album and reached No. 5 on the U.S. album chart. The single "What's Your Name?" reached No. 13 on the single airplay charts in January 1978. The original cover sleeve for Street Survivors had featured a photograph of the band standing on a city street with all its buildings engulfed in flames, some near the center nearly obscuring Steve Gaines's face. After the plane crash, this cover became highly controversial. Out of respect for the deceased (and at the request of Teresa Gaines, Steve's widow), MCA Records withdrew the original cover and replaced it with a similar image of the band against a simple black background, which was on the back cover of the original sleeve. An urban legend has long claimed that only those band members touched by flame in the photograph were killed in the crash, but this is not true (flame appears to touch nearly all band members). Written by: Steve Gaines Album: Street Survivors Released: 1977 Yes sir Well the bigger the city well the brighter the lights The bigger the dog well the harder the bite I don't know where you been last night But I think Mama you ain't doin' right Say I know a little I know a little about it I know a little I know a little about it I know a little about love And baby I can guess the rest Well now I don't read that daily news 'Cause it ain't hard to figure where people get the blues They can't dig what they can't use If they stick to themselves they'd be much less abused Say I know a little Lord I do know a little about it I know a little I know a little about it I know a little about love And baby I can guess the rest Play me a little Whoa Yeah Well now you want me to be your only man Said listen up Mama teach you all I can Do right baby by your man Don't worry Mama I'll teach you all I can Say I know a little Lord I know a little about it I know a little I know a little about it I know a little about love And baby I can guess the rest Well I know a little about love Baby I want your best

"Undercover of the Night" is the lead track and first single from English rock and roll band The Rolling Stones' 1983 album Undercover. The song was largely a Mick Jagger composition, with guitarist Keith Richards going as far as saying, "Mick had this one all mapped out, I just played on it". Jagger later said that the song "was heavily influenced by William Burroughs’ ‘Cities of the Red Night,’ a free-wheeling novel about political and sexual repression. It combines a number of different references to what was going down in Argentina and Chile." The song was likely written in Paris in late 1982, where recording began on the album. In 2003, guitarist Ronnie Wood described the fractious writing as "just me, Mick and Charlie [Watts]... [We] took it up into some wonderful adventures with all these different changes... There was a great percussive and acoustic version, which is the kind of song it should be. The final polished, glossed-up version may have been Mick's vision of the song..." The lyrics see Jagger explore the then-ongoing political corruption in Central and South America: All the young men, they've been rounded up; And sent to camps back in the jungle; And people whisper, people double-talk; Once proud fathers act so humble. "Undercover of the Night" is one of the few songs by the Rolling Stones which overtly explore political ideas. Recording began in early 1983 and was resumed later that summer at New York City's famed Hit Factory. There are two versions of this song, one unreleased version featuring usual Rolling Stones bassist Bill Wyman and the released version featuring guest Robbie Shakespeare. The song features Sly Dunbar, Martin Ditcham, Moustapha Cisse and Brahms Coundoul, on various instruments ranging from bongos to timpani. Organ on the piece is performed by Chuck Leavell, who later became the Rolling Stones' regular pianist. "Undercover of the Night" was released as the first single taken from the album on 1 November 1983. Initial reception was warm with the song reaching number 9 on the US Billboard Hot 100 and number 11 on the UK Singles Chart, though the violent depictions spelled out by Jagger were believed to be why its popularity quickly waned. Jagger in Jump Back's liner notes: "I think it's really good but it wasn't particularly successful at the time because songs that deal overtly with politics never are that successful, for some reason." Richards countered: "There were a lot more overlays on this track, because there was a lot more separation in the way we were recording at that time. Mick and I were starting to come to loggerheads." A music video was made in Mexico City for the song, featuring Jagger as a detective helping a woman (played by Elpidia Carrillo) follow her boyfriend's (also played by Jagger) kidnappers and Richards as the leader of the kidnappers, who eventually shoots Jagger. The music video, directed by Julien Temple, was considered to be too violent for MTV (they did eventually air an edited version, but not before 9 PM due to the violent imagery). An uncensored version of the video was included on the band's Video Rewind compilation. The song has been performed sporadically since its release, most recently on the A Bigger Bang Tour in 2006, and appeared on compilation albums including 2002's Forty Licks and 2012's GRRR!. Hear the screams of Center 42 Loud enough to bust your brains out The opposition's tongue is cut in two Keep off the street 'cause you're in danger One hundred thousand disparus Lost in the jails in South America Cuddle up baby, cuddle up tight Cuddle up baby, keep it all out of sight Undercover, keep it all out of sight Undercover of the night The sex police are out there on the streets Make sure the pass laws are not broken The race militia has got itchy fingers All the way from New York back to Africa Cuddle up baby, keep it all out of sight Cuddle up baby, keep it all out of sight Cuddle up baby, keep it all out of sight Undercover, undercover, undercover Keep it all out of sight Undercover of the night All the young men, they've been rounded up And sent to camps back in the jungle And people whisper people double-talk And once proud fathers act so humble All the young girls they have got the blues They're heading on back to Center 42 Undercover, all out of sight Undercover, all out of sight Undercover, all out of sight, undercover Keep it all out of sight, undercover of the night Down in the bars the girls are painted blue Done up in lace, done up in rubber The John's are jerky little G.I. Joe's On R&R from Cuba and Russia The smell of sex, the smell of suicide All these dream things I can't keep inside Undercover all out of sight Undercover of the night Undercover of the night Undercover of the night Undercover, undercover Undercover of the night

"Girls" is a song by American rap rock group the Beastie Boys, released in 1987 as well as the music video as the seventh and final single from their debut album Licensed to Ill. This song was never performed live and it is one of the few songs on the album that are not in the vein of their standard rap songs. The song is the shortest on the album, lasting just over two minutes long. Lyrically, the song talks about the narrator (Ad-Rock)'s desire for women. He recalls an experience from two years before with a woman who had an interest in the narrator's bandmate MCA. MCA did not share her feelings and permitted the narrator to pursue her romantically. Ad-Rock takes the woman for a walk near a bay and asks her out but rejects his proposal. She moves to a far away location but in the present day the narrator sees her back in town showing interest in his other bandmate, Mike D. The arrangement is supplied by a drum machine beat and a simple melody on an electronic keyboard. Mike D and MCA provide wordless backing vocals reminiscent of doo wop that occasionally break into giggles at the song's humorous lyrics and Ad-Rock's exaggerated delivery. In 2013 the toy company GoldieBlox used the song with alternative lyrics in a video of a Rube Goldberg machine made primarily out of traditional girls' toys. The group accused the company of copyright infringement, and stated that Adam Yauch's last will prevented the use of their music in advertising. In November 2013, GoldieBlox countersued the Beastie Boys and producer Rick Rubin, saying the use of the song was a parody. In March 2014, the Beastie Boys settled out of court, with GoldieBlox issuing a public apology and making a donation to a charity of the band's choice. "Girls" Writers: Rick Rubin, Adam Horowitz album: "Licensed To Ill" (1986) Girls! All I really want is (Girls!) And in the morning it's (Girls!) 'Cause in the evening it's (Girls!) I like the way that they walk And it's chill to hear them talk And I can always make 'em smile From White Castle to the Nile Back in the day (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) There was this girl around the way (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) She liked my home-piece MCA (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) He said he would not give her play (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) I asked him "Please?", he said "You may" (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) Her pants were tight, and that's OK (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) If she would dance, I would DJ (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) We took a walk down to the bay I hope she'll say (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) "Hey, me and you should hit the hay!" (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) I asked her out, she said "No way!"(bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) I should've probably guessed her gay (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) So I broke north with no delay (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) I heard she moved real far away (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) That was two years ago this May (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) I seen her just the other day Jackin' Mike D to my dismay (Girls!) To do the dishes (Girls!) To clean up my room (Girls!) To do the laundry (Girls!) And in the bathroom (Girls!) That's all I really want is girls (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) Two at a time – I want girls (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) With new-wave hairdos – I want girls (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom) I ought to whip out my – girls, girls, girls, girls, girls....! (bom, bom, bom-bom, bom-bom, bom, bom, bom-bom)

"I'm Just a Singer (In a Rock and Roll Band)" is a 1973 hit single by the English progressive rock band the Moody Blues, written by the band's bassist, John Lodge. It was first released in 1972 as the final track on the album Seventh Sojourn and was later released as a single in 1973, with "For My Lady" as its B-side. It was the second single released from Seventh Sojourn, with the first being "Isn't Life Strange", which was also written by Lodge. The song reached number 12 on the Billboard Hot 100 in the US, becoming one of their highest-charting hits in that country, but fared less well in their native UK, where it managed number 36. It was also the final single released by the Moody Blues prior to their five-year hiatus, which was agreed upon so each of the band members could pursue their own solo careers. Their next single would not be until 1978, with "Steppin' in a Slide Zone". Billboard regarded the song as a change of pace for the Moody Blues, stating that it had a more "upbeat rock sound" than their typical songs. Cash Box predicted that it was "likely to turn gold," saying that "all indications are that it will head straight for the very top" of the charts. Classic Rock critic Malcolm Dome rated it as the Moody Blues' 6th greatest song. AllMusic critic Lindsay Planer said that "Even though this is an uptempo rocker, Lodge delves headlong into an introspective space equal to that of another significant side, 'Isn't Life Strange.'" The song was the last of the band's singles to feature the Chamberlin, which had recently replaced the Mellotron. The Chamberlin would later be replaced by a more modern keyboard synthesizer. A promotional music-video was filmed for "I'm Just a Singer (In a Rock and Roll Band)". This video showed the band's flautist Ray Thomas playing a baritone saxophone; however, according to keyboardist Mike Pinder, the saxophone was used just for effect in the video and the saxophone sound was produced by the Chamberlin. The basic tracks for the song were recorded in Pinder's garage, producing a raw sound. The song remained in the Moody Blues' live concerts throughout their career. Live performances of the song during the band's final years featured a live saxophone played by keyboardist Julie Ragins, along with Norda Mullen on flute. The B-side of the single was "For My Lady", which was composed by Ray Thomas. Classic Rock History critic Brian Kachejian rated "For My Lady" as the Moody Blues' 7th greatest song, saying that "The song’s bouncy flute opening had a very Irish ethnic storybook sound that took me someplace out to sea." John Lodge – vocals, bass guitar Justin Hayward – vocals, acoustic and electric guitars Mike Pinder – vocals, Chamberlin, piano, tambourine Ray Thomas – vocals, saxophone Graeme Edge – drums, percussion Written by: JOHN CHARLES LODGE I'm just a wandering on the face of this earth Meeting so many people who are trying to be free And while I'm traveling I hear so many words Language barriers broken, now we've found the key If you want this world of yours to turn about you You can see exactly what to do, don't tell me I'm just a singer in a rock and roll band A thousand pictures can be drawn from one word Only who is the artist, we got to agree A thousand miles can lead so many ways Just to know who is driving, what a help it would be So if you want this world of yours to turn about you And you can see exactly what to do, don't tell me I'm just a singer in a rock and roll band How can we understand Riots by the people for the people Who are only destroying themselves And when you see a frightened Person who is frightened by the People who are scorching this earth, scorching this earth I'm just a wandering on the face of this earth Meeting so many people, who are trying to be free While I'm traveling I hear so many words Language barriers broken, now we've found the key If you want this world of yours to turn about you You can see exactly what to do, don't tell me I'm just a singer in a rock and roll band I'm just a singer in a rock and roll band How can we understand Riots by the people for the people Who are only destroying themselves When you see a frightened Person who is frightened by the People who are scorching this earth, scor-scorching this earth Music is the traveler crossing our world Meeting so many people, we're bridging the seas I'm just a singer in a rock and roll band I'm just a singer in a rock and roll band I'm just a singer in a rock and roll band We're just the singers in a rock and roll band

"Flying High Again" is a song by English heavy metal vocalist Ozzy Osbourne. Released in 1981 from his second album as a solo artist Diary of a Madman (1981). Released as a single, it reached number two on the Billboard Top Tracks chart in 1982. Although the song has been assumed to be about marijuana use, Osbourne has stated that the song was inspired by his successful re-emergence as a solo artist after being fired from Black Sabbath and subsequently believing his career was over. The song is in the key of A major. Gina Boldman of AllMusic praised guitarist Randy Rhoads for the solo in the song as one of his best. She called "Flying High Again" "A good-time heavy metal song that was hard to take seriously" but "one of Ozzy's most likable and memorable songs of his early-'80s period."In 2015, radio station 100.7 WZLX ranked it the 223rd greatest song. An animated music video was released to YouTube on 5 November 2021 celebrating guitarist Randy Rhoads, who was killed in an airplane accident a year later following the singles release. Ozzy Osbourne - lead vocals Randy Rhoads - guitar Bob Daisley - bass Lee Kerslake - drums Written by: Ozzy Osbourne, Randall Rhoads Album: Diary Of A Madman Released: 1981 Oh no, oh no Here we go now, here we go now Oh no, oh no Here we go now Got a crazy feeling I don't understand Gotta get away from here Feelin' like I should've kept my feet on the ground Waitin' for the sun to appear Momma's gonna worry I've been a bad, bad boy No use saying sorry It's something that I enjoy 'Cause you can't see what my eyes see (I can see it, I can see it) And you can't be inside of me Flying high again I can see through mountains, watch me disappear I can even touch the sky Swallowing colours of the sound I hear Am I just a crazy guy? You bet Momma's gonna worry I've been a bad, bad boy No use saying sorry It's something that I enjoy If you could be inside my head You'd see that black and white is red Flying high again Flying high again Flying high again Flying high again Come on and join me Flying high again Flying high again Flying high again Come on and join me Oh no, oh no Here we go now, here we go now Oh no, oh no Here we go now Daddy thinks I'm lazy he don't understand Never saw inside my head People think I'm crazy but I'm in demand Never heard a thing I said Momma's gonna worry I've been a bad, bad boy No use saying sorry It's something that I enjoy Flying high again Flying high again Flying high again Flying high again

"My City Was Gone" is a song by the rock group The Pretenders. The song originally appeared in October 1982 as the B-side to the single release of "Back on the Chain Gang"; the single was the first release for the band following the death of founding bandmember James Honeyman-Scott. The song was included on the album Learning to Crawl, which was released in early 1984, and it became a radio favorite in the United States. It is sometimes referred to as "The Ohio Song" for its constant reference to the state. The song was written by Pretenders leader Chrissie Hynde, and reflected her growing interest in environmental and social concerns. The lyrics take the form of an autobiographical lament, with the singer returning to her childhood home of Ohio and discovering that rampant development had destroyed the "pretty countryside" of her youth. The song makes a number of specific references to places in and around Akron, Ohio including South Howard Street (line 5), the historic center of Akron which was leveled to make way for an urban plaza with three skyscrapers and two parking decks (line 8). The opening bass riff from this song "was something that Tony Butler used to play just as a warm-up," said Steve Churchyard, the engineer for the record. Ultimate Classic Rock critic Matt Wardlaw rated it the Pretenders all-time 4th greatest song, saying that it was inspired by "Hynde returning home after first finding success with the Pretenders and lamenting the many changes for the worse in her beloved former hometown." Ultimate Classic Rock critic Bryan Wawzenek rated it as drummer Martin Chambers' 4th best Pretenders songs, saying that the beat is "so simple, so stark, so basic – it’s brilliant." The instrumental opening of the song (before Hynde's vocals appear at 36 seconds in) is best known as the opening theme of the EIB Network, an American conservative talk radio franchise that started in 1984 with Rush Limbaugh and since June 2021 has been hosted by Clay Travis and Buck Sexton. The roots derive from with Rush Limbaugh hosting a local radio show at KFBK in Sacramento, California in 1984, where the show stayed until 1988 when it became nationally syndicated under the EIB Network brand. Limbaugh said in 2011 that he chose it because of the irony of a conservative using such an anti-conservative song, though he mainly liked its "unmistakable, totally recognizable bass line." In 1999, Rolling Stone magazine reported that, according to Hynde's manager, neither KFBK (which owned the show prior to national syndication) nor Limbaugh had licensed the song nor asked permission to use it. According to Rolling Stone, EMI took action after Limbaugh told a pair of reporters in 1997 that "it was icing on the cake that it was [written by] an environmentalist, animal rights wacko and was an anti-conservative song. It is anti-development, anti-capitalist and here I am going to take a liberal song and make fun of [liberals] at the same time." EMI issued a cease and desist request that Limbaugh stop using the song, which he did. When Hynde found out during a radio interview, she said that her parents loved and listened to Limbaugh and she did not mind its use. A usage payment was agreed upon which she donated to PETA. She later wrote to the organization saying, "In light of Rush Limbaugh's vocal support of PETA's campaign against the Environmental Protection Agency's foolish plan to test some 3,000 chemicals on animals, I have decided to allow him to keep my song, 'My City Was Gone', as his signature tune..." Chrissie Hynde – lead vocals, rhythm guitar Martin Chambers – drums Billy Bremner – lead guitar Tony Butler – bass guitar 1982 B-Side for "Back in the Chain Gang" 1984 "Learning to Crawl" album Writer: Christine Hynde My City Was Gone I went back to Ohio But my city was gone There was no train station There was no downtown South Howard had disappeared All my favorite places My city had been pulled down Reduced to parking spaces Ay, oh, way to go, Ohio Well, I went back to Ohio But my family was gone I stood on the back porch There was nobody home I was stunned and amazed My childhood memories Slowly swirled past Like the wind through the trees Ay, oh, way to go, Ohio I went back to Ohio But my pretty countryside Had been paved down the middle By a government that had no pride The farms of Ohio Had been replaced by shopping malls And Muzak filled the air From Seneca to Cuyahoga Falls Said, ay, oh, way to go, Ohio

"Factory Girl" is a song by the Rolling Stones which appears on their 1968 album Beggars Banquet. It is very similar to an Appalachian folk tune, especially due to its minimal arrangement, featuring Mick Jagger on vocals, Keith Richards on acoustic guitar, Rocky Dijon on conga drums, Ric Grech of Family on fiddle/violin, Dave Mason on Mandolin and Charlie Watts on tabla. On his performance, Watts said in 2003, "On 'Factory Girl', I was doing something you shouldn't do, which is playing the tabla with sticks instead of trying to get that sound using your hand, which Indian tabla players do, though it's an extremely difficult technique and painful if you're not trained." The song is composed of lyrics musing on the singer's relationship with a young woman, all while he is waiting for her to come out to meet him; Waiting for a girl who's got curlers in her hair Waiting for a girl, she has no money anywhere We get buses everywhere, waiting for a factory girl Richards said of the song in 2003, "To me 'Factory Girl' felt something like 'Molly Malone', an Irish jig; one of those ancient Celtic things that emerge from time to time, or an Appalachian song. In those days I would just come up and play something, sitting around the room. I still do that today. If Mick gets interested I'll carry on working on it; if he doesn't look interested, I'll drop it, leave it and say, 'I'll work on it and maybe introduce it later.'" Jagger countered, saying, "The country songs, like 'Factory Girl' or 'Dear Doctor' on Beggars Banquet were really pastiche. There's a sense of humour in country music anyway, a way of looking at life in a humorous kind of way - and I think we were just acknowledging that element of the music. The 'country' songs we recorded later, like "Dead Flowers" on Sticky Fingers or "Far Away Eyes" on Some Girls are slightly different. The actual music is played completely straight, but it's me who's not going legit with the whole thing, because I think I'm a blues singer not a country singer." Jim Beviglia ranked "Factory Girl" the 163rd best Rolling Stones song in Counting Down the Rolling Stones: Their 100 Finest Songs. Paste commented, "The Rolling Stones did an impressive job stepping outside their usual rockers to create this folk number" and ranked it 29th in its Top 50 Rolling Stones songs. Rolling Stone ranked it 91st in its countdown of the band's top 100 songs, calling it an "oddity that feels like a country song yet incorporates tablas, mandolins and a fiddle solo." The song has been performed live in 1990, 1997 and 2013. A live recording from the Steel Wheels/Urban Jungle Tour made its way onto the 1991 live album Flashpoint. The song was also featured during the 1997 Bridges to Babylon Tour It was played in Los Angeles on 3 May 2013 and then a version of the song with different lyrics called "Glastonbury Girl" was performed at the Glastonbury festival on 29 June 2013. Mick Jagger – vocals Keith Richards – acoustic guitar Charlie Watts – tabla Rocky Dijon – conga drum Dave Mason – mandolin Ric Grech – violin "Factory Girl" Waiting for a girl who's got curlers in her hair Waiting for a girl she has no money anywhere We get buses everywhere Waiting for a factory girl Waiting for a girl and her knees are much too fat Waiting for a girl who wears scarves instead of hats Her zipper's broken down the back Waiting for a factory girl Waiting for a girl and she gets me into fights Waiting for a girl we get drunk on Friday night She's a sight for sore eyes Waiting for a factory girl Waiting for a girl she's got stains all down her dress Waiting for a girl and my feet are getting wet She ain't come out yet Waiting for a factory girl

Federal Funding is the first song on Cake’s 2011 album Showroom of Compassion. The song features a slow, moderately-funky beat, a low single-string guitar riff, whining analog synthesizers, group vocals, and trumpets. Lyrically, it discusses both the positives and negatives of government. Lead singer John McCrea is quoted as saying “There are certain things only government can do, and I think it would be selfish and shortsighted to indiscriminately shut everything down, privatize it all, etc. Although it might be emotionally satisfying for many people, it is probably not the adult thing to do.” Cake’s website also featured “The Federal Funding March” in which high school and college marching bands could submit videos with the winner being featured in a future Cake music video. Federal Funding Cake Written by: Mc Crea John M, Mccurdy Xan Dieudonne, Nelson Christopher Gabriel Album: Showroom Of Compassion Released: 2011 You'll receive the federal funding, you can add another wing You'll receive the federal funding, you can add another wing Take your colleagues out to dinner, pay your brother to come and sing Take your colleagues out to dinner, pay your brother to come and sing Sing, sing, sing You'll receive the federal funding, you can have a hefty grant You'll receive the federal funding, you can have a hefty grant Strategize for the presentation, make them see that you're the man Strategize this presentation, make them see that you're the man-a-a-an Man, man, man-a-a-an-a-a-an, ma-ma-ma-a-an You'll receive the federal funding, you can pass the simple test You'll receive the federal funding, you can pass the simple test You can access information, make them see that you're the best You can access information, make them see that you're the be-e-est Best, best, be-e-est, be-e-e-e-est Yow One, two, one, two, three, four Man, man, man-a-a-an-a-a-an, ma-ma-ma-a-an Man, man, man-a-a-an-a-a-an, ma-ma-ma-a-an

"867-5309/Jenny" is a 1981 song written by Alex Call and Jim Keller and performed by Tommy Tutone that was released on the album Tommy Tutone 2, on the Columbia Records label. It peaked at No. 4 on the Billboard Hot 100 chart in May 1982, and No. 1 on the Billboard Hot Mainstream Rock Tracks chart in April 1982. The song led to a fad of people dialing 867-5309 and asking for "Jenny". Lead guitarist Jim Keller, interviewed by People in 1982, said: "Jenny is a regular girl, not a hooker. Friends of mine wrote her name and number on a men's room wall at a bar. I called her on a dare, and we dated for a while. I haven't talked with her since the song became a hit, but I hear she thinks I'm a real jerk for writing it." On March 28, 2008, Tommy Tutone lead singer Tommy Heath stated on the WGN Morning News that the number was real and it was the number of a girl he knew. As a joke, he wrote it on a bathroom wall in a motel where they were staying. "We laughed about it for years," he said. However, in a June 2004 interview with Songfacts, co-writer Alex Call explained his version of the song's real origins: Despite all the mythology to the contrary, I actually just came up with the 'Jenny,' and the telephone number and the music and all that just sitting in my backyard. There was no Jenny. I don't know where the number came from, I was just trying to write a 4-chord Rock song and it just kind of came out. This was back in 1981 when I wrote it, and I had at the time a little squirrel-powered 4-track in this industrial yard in California, and I went up there and made a tape of it. I had the guitar lick, I had the name and number, but I didn't know what the song was about. This buddy of mine, Jim Keller, who's the co-writer, was the lead guitar player in Tommy Tutone. He stopped by that afternoon and he said, 'Al, it's a girl's number on a bathroom wall,' and we had a good laugh. I said, 'That's exactly right, that's exactly what it is.' Tommy Tutone's been using the story for years that there was a Jenny and she ran a recording studio and so forth. It makes a better story but it's not true. That sounds a lot better than I made it up under a plum tree in my backyard. I had the thing recorded. I had the name and number, and they were in the same spots, 'Jenny... 867-5309.' I had all that going, but I had a blind spot in the creative process, I didn't realize it would be a girl's number on a bathroom wall. When Jim showed up, we wrote the verses in 15 or 20 minutes, they were just obvious. It was just a fun thing, we never thought it would get cut. In fact, even after Tommy Tutone made the record and '867-5309' got on the air, it really didn't have a lot of promotion to begin with, but it was one of those songs that got a lot of requests and stayed on the charts. It was on the charts for 40 weeks. I've met a few Jennys who've said, "Oh, you're the guy who ruined my high school years." But for the most part, Jennys are happy to have the song. "There was no Jenny," Call also told a Tampa, Florida, columnist in June 2009. "The number? It came to me out of the ether." In the music video, the "Jenny" character is played by Karen Elaine Morton. The song, released in late 1981, initially gained popularity on the American West Coast in January 1982; many who had the number soon abandoned it because of unwanted calls. When we'd first get calls at 2 or 3 in the morning, my husband would answer the phone. He can't hear too well. They'd ask for Jenny, and he'd say "Jimmy doesn't live here any more." ... Tommy Tutone was the one who had the record. I'd like to get hold of his neck and choke him. — Lorene Burns, an Alabama householder formerly at +1-205-867-5309; she changed her number in 1982. Asking telephone companies to trace the calls was of no use, as Charles and Maurine Shambarger (then in West Akron, Ohio at +1-216-867-5309) learned when Ohio Bell explained: "We don’t know what to make of this. The calls are coming from all over the place." A little over a month later, they disconnected the number and the phone became silent. In some cases, the number was picked up by commercial businesses or acquired for use in radio promotions. In 1982, WLS radio obtained the number from a Chicago woman, receiving 22,000 calls in four days. In 1982, Southwest Junior High School received up to two hundred calls daily asking for Jenny in area code 704. Brown University obtained the +1-401-867 prefix in 1999, assigning 867-5309 to a student dormitory room which was promptly inundated with nuisance calls. A February 2004 auction for the number in a New York City code was shut down by eBay after objections from Verizon; bidding had reached $80,000. The US Federal Communications Commission takes the position that most phone numbers are "public resources" that "are not owned by carriers or their customers" but did not rule out the number being sold as part of a business. A subsequent February 2004 auction for the number in area code 800 and 888 listed Jeffrey Steinberg's Philadelphia business JSS Marketing for sale, including both numbers as part of the bundle. This circumvents eBay restrictions which prevent selling the numbers on their own. In 2004, Weehawken, New Jersey resident Spencer Potter picked up the number for free after discovering to his surprise that it was available in the 201 area code, hoping it would improve his DJ business. Unable to handle the overwhelming volume of calls, he sought to sell the number on eBay in February 2009. Although bids reached $1 million, his inability to confirm the identity of the bidders led him to sell it privately to Retro Fitness, a gym franchise with a location in Secaucus, New Jersey that felt the 1980s origin of the number tied in with their business' retro theme. In 2006, Benjamin Franklin Franchising, a large national plumbing franchise, began using a toll-free version of the number (+1-866-867-5309), which it advertises as "867-5309/Benny". In 2007, Gem Plumbing & Heating brought suit against Clockwork Home Services, the parent company of Benjamin Franklin Franchising, alleging a violation of its trademark. Clockwork contended that Gem's trademark was invalid. Effective in May 2007, Clockwork was ordered by a court to stop using the number in New England. According to Tommy Heath, lead singer of Tommy Tutone: "It's ridiculous. If I wanted to get into it, I could probably take the number away from both of them." In 2009, nutrition firm Natrient LLC leased +1-800-867-5309 from 5309 Partners Ltd for $25 million as part of a radio ad campaign. In July 2009, Jason Kaplan had +1-267-867-5309 assigned to a Vonage phone line in the name of a small business and then listed the entire business for sale on eBay. The auction closed at $5,500. In January 2013, Five309 LLC announced plans to use 855-867-5309 and 888-867-5309 to promote the website JennySearch.com. In 2013, Florida realtor Carrie Routt was still receiving fifty prank calls daily at +1-850-867-5309. A Fort Collins, Colorado restaurant, Totally 80's Pizza, uses +1-970-867-5309 as part of its 1980s theme.

"Once in a Lifetime" is a song by the American new wave band Talking Heads, produced and cowritten by Brian Eno. It was released in November 1980 as the lead single from Talking Heads' fourth studio album, Remain in Light (1980), through Sire Records. Eno and Talking Heads developed "Once in a Lifetime" through extensive jams, inspired by Afrobeat musicians such as Fela Kuti. David Byrne's vocals were inspired by preachers delivering sermons, with lyrics addressing existential crisis and the unconscious. The music video, directed by Byrne and Toni Basil, has Byrne dancing erratically over footage of religious rituals. "Once in a Lifetime" was certified gold in the UK in 2021. A live version, taken from the 1984 concert film Stop Making Sense, charted in 1986 on the Billboard Hot 100. NPR named "Once in a Lifetime" one of the 100 most important American musical works of the 20th century. The Rock and Roll Hall of Fame lists it as one of the "500 Songs that Shaped Rock and Roll", and Rolling Stone ranked it at number 27 on its 2021 list of "The 500 Greatest Songs of All Time". The music video has been named among the greatest by several publications. Like other songs on Remain in Light, Talking Heads and producer Brian Eno developed "Once in a Lifetime" by recording jams, isolating the best parts, and learning to play them repetitively. Songwriter Robert Palmer joined the jam on guitar and percussion. The technique was influenced by early hip hop and the Afrobeat music of artists such as Fela Kuti, which Eno had introduced to the band. Singer David Byrne likened the process to modern looping and sampling, describing the band as "human samplers". He said the song was a result of the band trying and failing to play funk, inadvertently creating something new instead. The track was initially not one of Eno's favorites, and the band almost abandoned it. According to keyboardist Jerry Harrison, "Because there were so few chord changes, and everything was in a sort of trance ... it became harder to write defined choruses." However, Byrne had faith in the song and felt he could write lyrics to it. Eno developed the chorus melody by singing wordlessly, and the song "fell into place". Harrison developed the "bubbly" synthesizer line and added the Hammond organ climax, taken from the Velvet Underground's "What Goes On". Eno interpreted the rhythm differently from the band, with the third beat of the bar as the first. He encouraged the band members to interpret the beat in different ways, thereby exaggerating different rhythmic elements. According to Eno, "This means the song has a funny balance, with two centers of gravity – their funk groove, and my dubby, reggae-ish understanding of it; a bit like the way Fela Kuti songs will have multiple rhythms going on at the same time, warping in and out of each other." According to bassist Tina Weymouth, her husband, drummer Chris Frantz, created the bassline by yelling during a jam, which she mimicked on bass guitar. She wanted to "leave lots of space for the cacophony that surrounded me. I felt like I was pounding away like a carpenter, just nailing away to get it in the groove." Eno removed the bass note from the first beat of the bar, as he felt it was too "obvious", and rerecorded the part. When Talking Heads returned to New York and Eno had gone home, the engineer had Weymouth record the bassline again. She said: "It wasn't a big fight between me and Brian, as it has sometimes been portrayed, it was just a musical dispute." In February 1981 "Once in a Lifetime" reached no. 24 on the Dutch Top 40 and in March peaked at no. 14 on the UK Singles Chart. In the UK it was certified silver in January 2018 and gold in April 2021. A live version, taken from the 1984 concert film Stop Making Sense, reached number 91 on the US Billboard Hot 100 in 1986. In 1996, Kermit the Frog performed "Once in a Lifetime" on Muppets Tonight while wearing Byrne's "big suit" and mimicking his dances from Stop Making Sense. In 2000, NPR named "Once in a Lifetime" one of the 100 most important American musical works of the 20th century. In 2016, the Rock and Roll Hall of Fame listed it as one of the "500 Songs that Shaped Rock and Roll", and Malcolm Jack wrote in The Guardian that the song "is a thing of dizzying power, beauty and mystery [...] it sounds like nothing else in the history of pop." In 2018, the musician Travis Morrison appeared on NPR's All Songs Considered, where he selected "Once in a Lifetime" as a "perfect song" and said: "The lyrics are astounding; they are meaningless and totally meaningful at the same time. That's as good as rock lyrics get." In 2021, Rolling Stone ranked "Once in a Lifetime" number 27 on its list of "The 500 Greatest Songs of All Time". In 1989, Spin readers voted the "Once in a Lifetime" video the sixth-best of the 1980s. In 2003, the BBC critic Chris Jones described the "Once in a Lifetime" video as "hilarious" and "as compelling as it was in 1981". In 2021, Rolling Stone named it the 81st best music video. Talking Heads David Byrne – lead vocals, guitar Jerry Harrison – synthesizer, organ, backing vocals Tina Weymouth – bass, backing vocals Chris Frantz – drums Additional personnel Brian Eno – synthesizer, percussion, backing vocals Nona Hendryx – backing vocals Adrian Belew – guitar

"Moving in Stereo" is a song by the American rock band the Cars. It appeared on their first album, The Cars, released in 1978. It was co-written by Ric Ocasek and the band's keyboard player Greg Hawkes, and sung by bassist Benjamin Orr. Although not released as a single, "Moving in Stereo" received airplay on album-oriented rock radio stations in the United States, often coupled with the song "All Mixed Up" which it segues into on the album. The song continues to receive airplay on classic rock radio stations. Donald A. Guarisco of AllMusic described the song as "one of the Cars' finest experimental tracks," noting that it "sounds like a new wave update of Eno-era Roxy Music. An instrumental portion of "Moving in Stereo" was used prominently in the 1982 feature film Fast Times at Ridgemont High, in which it accompanies Judge Reinhold's character's fantasy of Phoebe Cates's character removing her bikini top while embracing him. Although the song was popularized in the movie, it was not included on the soundtrack album. Written by: Ric Ocasek, Gregory A. Hawkes Moving in Stereo The Cars 1978 Life's the same, I'm moving in stereo Life's the same except for my shoes Life's the same, you're shakin' like tremolo Life's the same, it's all inside you It's so easy to blow up your problems It's so easy to play up your breakdown It's so easy to fly through a window It's so easy to fool with the sound It's so tough to get up It's so tough It's so tough to live up It's so tough on you Life's the same, I'm moving in stereo Life's the same except for my shoes Life's the same, you're shakin' like tremolo Life's the same, it's all inside you Life's the same, I'm moving in stereo Life's the same except for my shoes Life's the same, you're shakin' like tremolo Life's the same, it's all inside you

By Ben Derico & James Clayton BBC News, San Francisco San Francisco's ruling Board of Supervisors has voted to let the city's police use robots that can kill. The measure permits police to deploy robots equipped with explosives in extreme circumstances. Dr Catherine Connolly, from the group Stop Killer Robots, said the move was a "slippery slope" that could distance humans from killing. The city's police - the SFPD - told the BBC they do not currently operate any robots equipped with lethal force. They said though that there may be future scenarios in which lethal force could be used by a robot. A spokesperson for the police said "robots could potentially be equipped with explosive charges to breach fortified structures containing violent, armed, or dangerous subjects". They also said robots could be used to "incapacitate, or disorient violent, armed, or dangerous suspects who pose a risk of loss of life". Advocates for the measure said it would only be used in extreme situations. Opponents, however, say the authority could lead to further militarisation of the police force. The measure passed, with an amendment on Tuesday specifying that officers could only use robots wielding deadly force after employing alternative de-escalation tactics. The board also stipulated that only a limited number of high-ranking officers could authorise its use. This type of lethal robot is already in use in other parts of the United States. In 2016, police in Dallas, Texas, used a robot armed with C-4 explosive to kill a sniper who had killed two officers and injured several more. The SFPD said the department does not currently own any robots outfitted with lethal force, but said the measure might be needed in the future. "No policy can anticipate every conceivable situation or exceptional circumstance which officers may face. The SFPD must be prepared, and have the ability, to respond proportionally," a spokesperson said. The federal government has long dispensed military grade equipment, camouflage uniforms, bayonets and armoured vehicles to help local law enforcement. But a California state law passed this year now requires city police forces to inventory military-grade equipment and seek approval for their use. Dr Catherine Connolly, from the campaign group Stop Killer Robots, said the move could "make humans more and more distant from the use of force and the consequences of the use of force". She also said the measure could make it "easier to make decisions to use lethal force in the first place".

By Jessica BUXBAUM November 17 2022 For nearly two decades, Israeli military censors prevented publication of the country’s use of armed drones. In July, the gag order was lifted, allowing Israeli drone warfare to become public knowledge. “Today I can speak of this openly,” Israeli Defense Forces (IDF) Brigadier-General Neri Horowitz said during the annual UVID DroneTech conference hosted by Israel Defense magazine in Tel Aviv last week. The senior officer discussed how Israel has used combat drones around the world since 2012, including in operations in Gaza and Syria. With one of its worst-kept secrets confirmed, Israel is now taking the opportunity to boast about its drone technology to international audiences, touting the equipment’s capabilities as a less savage and more efficient solution to conflict. COMPLICIT IN OCCUPATIONS AROUND THE GLOBE Israel has been using drones in its warfare as early as 1968, when the IDF’s intelligence directorate, Shabtai Brill, secured cameras to remote-controlled aircraft in order to surveil the Egyptian border. During the 1982 Lebanon War, Israel used drones to annihilate military positions in the Lebanon Valley. By 1986, it was revealed in a declassified CIA report that Israel had exported drones to the U.S. Navy, Switzerland, and Singapore. Drones capable of deploying munitions were not invented until the 1990s, but by the near end of the 2000s, armed drones became Israeli military industries’ most lucrative export item. Combat drones increased the volume of military export transactions from $4.8 billion in 2007 to an annual total of approximately $7 billion beginning in 2008. Last year, drones made up 9% of Israel’s $11.3 billion in arms exports, contributing to about $1 billion in sales. Israel Aerospace Industries (IAI) and Elbit Systems are the primary Israeli manufacturers of armed unmanned aerial vehicles, commonly referred to as drones. These companies did not respond to MintPress News inquiries on who they have sold armed drones to and whether they will begin advertising combat drones given the censor’s removal. Similar to using armed drones in its own occupation (specifically targeted assassinations in the besieged Gaza Strip), Israel assists other states in their occupations as well with its armed unmanned aerial vehicle (UAV) sales. Azerbaijan purchased IAI Harop drones, a “loitering munition” or kamikaze unit which destroys itself after attacking a target. It also bought Elbit Hermes 900 armed drones in arms deals with Israel over the years. These drones have been used against Armenia throughout the two nations fight over the Nagorno-Karabakh territory. The Israel Defense Ministry did not respond to press inquiries on where else Israeli armed drones are used. While Israel has remained relatively quiet on its arms sales, Azerbaijan has bragged about using Israeli weapons in the fighting — fully displaying armed and kamikaze drones made by Elbit, Aeronautics, and IAI during a military parade in 2020. Although only publicly normalizing relations in 2020, Israel and Morocco have long collaborated in a military capacity. Morocco acquired IAI’s Heron unarmed UAVs in 2013, and the equipment has reportedly been seen at bases in the Western Sahara, a region occupied by Morocco. In September, Morocco purchased 150 military drones from Israeli BlueBird Aero Systems. The unmanned equipment is reportedly for reconnaissance, surveillance, air defense, and emergency missions. India and Germany have also brokered military drone deals with Israel. In April, Germany acquired 140 IAI Heron armed drones over concerns Russia could strike German infrastructure amid the ongoing Russia-Ukraine war. India has also purchased Heron drones, with the country hoping to weaponize the vehicles locally. According to defense think tank, the Royal United Services Institute (RUSI), the Israeli military and Israel’s UAV industry are closely connected. “Part of the reason for this is the very high proportion of senior personnel in the UAV industry who are either retired or still active duty reserves,” RUSI wrote. “This helps to ensure that there is a deep commonality of understanding of operational priorities and requirements between UAV developers and the IDF.” Seven of Elbit’s executive officers either served in the Israeli military or are in the reserves, including the company’s president and CEO, Bezhalel Machlis. Nine Of IAI’s executives were part of the Israeli military, including the company’s president and CEO, Boaz Levy. At Aeronautics, three executives are known to have been involved with the Israeli military, including the firm’s president and CEO, Moshe Elazar. USING THE GAZA MODEL IN THE WEST BANK In addition to selling armed drones, widespread reports have indicated Israel has long used the armed unmanned aircraft in carrying out strikes against personnel and weapons cargo targets in Gaza, Lebanon, Egypt, Syria, and Sudan. The low buzzing of Israeli drones in Gaza has become so enmeshed in daily life that Palestinians refer to them as “zanana” or “buzz” in Arabic. That same incessant hum can be heard in the occupied West Bank. While often used as a surveillance tool on the other side of Palestine, the Israeli Army Chief of Staff, Lt.-Gen. Aviv Kochavi, approved the use of armed drones in targeted killings in the West Bank in September — thereby greenlighting death to rain from above. According to Israeli media, the military is already preparing units to operate armed drones during raids. Army incursions into the occupied territory have surpassed 2,000 this year and turned Palestinian cities such as Nablus and Jenin into battlefields. So far, Israeli forces have killed more than 100 Palestinians this year in the West Bank, largely due to military raids, including a 15-year-old girl who was shot dead earlier this week. In recent years, Israel has transformed its military occupation of Palestine into a digital experiment in which an assault can be executed with the mere push of a button. Showering tear gas via drones, firing sponge-tipped bullets with a remote control, and surveilling Palestinians with a touch of a screen. And while Israel touts these technological advancements as a less bloody and gruesome approach to its state violence, in reality, the digital barrier and perceived distance between an Israeli soldier and a Palestinian is likely to make pulling the trigger that much easier.

George Denis Patrick Carlin was born at New York Hospital in Manhattan on May 12, 1937, the second of two sons born to Mary (née Bearey, 1896–1984) and Patrick John Carlin (1888–1945). Carlin had an older brother, Patrick Jr. (1931–2022), who later had a major influence on his comedy. His mother was born in New York City to Irish immigrants and his father was himself an Irish immigrant from Cloghan, a village in County Donegal in Ulster, leading Carlin to later describe himself as "fully Irish". He wrote in his posthumously published autobiography Last Words that, when his first wife Brenda was alive, "I used to have a fantasy of Ireland, the southeastern parts so that it would be a little warmer, and the two of us there, close enough to Dublin that you could go buy things you needed." His parents separated when he was two months old because of his father's alcoholism, so his mother raised him and his brother on her own. His father died when Carlin was eight years old. Carlin's maternal grandfather, Dennis Bearey, was an NYPD police officer, who wrote out the works of William Shakespeare by hand for fun. Carlin said that he picked up an appreciation for the effective use of the English language from his mother, though they had a difficult relationship and he often ran away from home. He grew up on West 121st Street in the Morningside Heights neighborhood of Manhattan, which he and his friends called "White Harlem" because it "sounded a lot tougher than its real name". He attended Corpus Christi School, a Roman Catholic parish school of the Corpus Christi Church in Morningside Heights. One of Carlin's best childhood friends was fellow student Randy Jurgensen who went on to become one of the most decorated homicide detectives in the NYPD's history. His mother owned a television, which was a new technology few people owned at the time, and Carlin became an avid fan of the pioneering late-night talk show Broadway Open House during its short run. He went to the Bronx for high school but, after three semesters, was expelled from Cardinal Hayes High School at age 15. He briefly attended Bishop Dubois High School in Harlem and Salesian High School in Goshen. He spent many summers at Camp Notre Dame in Spofford, New Hampshire, where he regularly won the camp's drama award. Later, at his request, some of his ashes were spread at Spofford Lake upon his death. Carlin joined the U.S. Air Force and trained as a radar technician. He was stationed at Barksdale Air Force Base in Bossier City, Louisiana, and began working as a disc jockey at radio station KJOE in nearby Shreveport. Labeled an "unproductive airman" by his superiors, he received a general discharge on July 29, 1957. During his time in the Air Force, he had been court-martialed three times and received many nonjudicial punishments and reprimands. In August 1960, while touring with comedy partner Jack Burns in Dayton, Ohio, Carlin met Brenda Hosbrook. They were married at her parents' home in Dayton on June 3, 1961. The couple's only child, Kelly Marie Carlin, was born on June 15, 1963. The two renewed their wedding vows in Las Vegas in 1971. Hosbrook died of liver cancer on May 11, 1997, the day before Carlin's 60th birthday. Six months later, he met comedy writer Sally Wade, and later described it as "love at first sight" but admitted that he was hesitant to act on his feelings so soon after his wife's death. He eventually married Wade in a private and unregistered ceremony on June 24, 1998. The marriage lasted until Carlin's death in 2008, two days before their 10-year anniversary. In a 2008 interview, Carlin stated that using cannabis, LSD, and mescaline had helped him cope with events in his personal life. He also stated several times that he had battled addictions to alcohol, Vicodin, and cocaine, and spent some time in a rehab facility in late 2004. Although born into a Catholic family, he vocally rejected religion in all of its forms, and frequently criticized and mocked it in his comedy routines. When asked if he believed in God, he responded, "No. No, there's no God, but there might be some sort of an organizing intelligence, and I think to understand it is way beyond our ability. Carlin had a history of heart problems spanning three decades. This included heart attacks in 1978, 1982, and 1991; an arrhythmia requiring an ablation procedure in 2003; a significant episode of heart failure in 2005; and two angioplasties on undisclosed dates. On June 22, 2008, at the age of 71, he died of heart failure at Saint John's Health Center in Santa Monica, California. His death occurred one week after his last performance at The Orleans Hotel and Casino. In accordance with his wishes, his body was cremated and his ashes were scattered in front of various New York City nightclubs and over Spofford Lake in New Hampshire, where he had attended summer camp as an adolescent.

No Phone Cake Written by: John M Mc Crea, Vincent Robert Di Fiore, Daniel Mc Curdy Album: Pressure Chief Released: 2004 No phone No phone, I just want to be alone today No phone no phone Ringing stinging, Jerking like a nervous bird Rattling up against his cage Calls to me throughout the day See the feathers fly No phone No phone I just want to be alone today No phone No phone No phone no phone I just want to be alone today Rhyming chiming got me working all the time Gives me such a worried mind Now I don't want to seem unkind But god, it's such a crime No phone No phone I just want to be alone today No phone no phone No phone No phone I just want to be alone today No phone no phone... Shaking quaking, waking me when I'm asleep Never lets me go too deep Summons me with just one beep The price we pay is steep I've been on fire and yet I've still stayed frozen So deep in the night My smooth contemplations will always be broken My deepest concerns will stay buried and unspoken No I don't have any change but here's a few subway tokens No phone No phone I just want to be alone today No phone No phone No phone no phone I just want to be alone today No phone no phone No phone No phone I just want to be alone today No phone No phone

The Three Laws of Robotics (often shortened to The Three Laws or known as Asimov's Laws) are a set of rules devised by science fiction author Isaac Asimov. The rules were introduced in his 1942 short story "Runaround" (included in the 1950 collection I, Robot), although they had been foreshadowed in some earlier stories. The Three Laws, quoted from the "Handbook of Robotics, 56th Edition, 2058 A.D.", are: First Law A robot may not injure a human being or, through inaction, allow a human being to come to harm. Second Law A robot must obey the orders given it by human beings except where such orders would conflict with the First Law. Third Law A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. These form an organizing principle and unifying theme for Asimov's robotic-based fiction, appearing in his Robot series, the stories linked to it, and his Lucky Starr series of young-adult fiction. The Laws are incorporated into almost all of the positronic robots appearing in his fiction, and cannot be bypassed, being intended as a safety feature. Many of Asimov's robot-focused stories involve robots behaving in unusual and counter-intuitive ways as an unintended consequence of how the robot applies the Three Laws to the situation in which it finds itself. Other authors working in Asimov's fictional universe have adopted them and references, often parodic, appear throughout science fiction as well as in other genres. The original laws have been altered and elaborated on by Asimov and other authors. Asimov himself made slight modifications to the first three in various books and short stories to further develop how robots would interact with humans and each other. In later fiction where robots had taken responsibility for government of whole planets and human civilizations, Asimov also added a fourth, or zeroth law, to precede the others: Zeroth Law A robot may not harm humanity, or, by inaction, allow humanity to come to harm. The Three Laws, and the zeroth, have pervaded science fiction and are referred to in many books, films, and other media. They have affected thought on ethics of artificial intelligence as well. Paranoid is the second studio album by English heavy metal band Black Sabbath, released in September 1970 through Vertigo Records in England and Warner Bros. Records in the US. The album contains several of the band's signature songs, including "Iron Man", "War Pigs" and the title track, which was the band's only Top 20 hit, reaching number 4 in the UK charts. In a 2017 publication by Rolling Stone magazine, Paranoid was ranked number one on its list of the "100 Greatest Metal Albums of All Time". The album is often cited a key influence for the development of the heavy metal music genre as well as one of the earliest heavy metal albums. Paranoid was the band's only album to top the UK Albums Chart until the release of 13 in 2013. In an effort to capitalize on the recent UK chart success of their eponymous debut album, Black Sabbath returned to the studio with producer Rodger Bain in June 1970, just four months after the album was released. Paranoid was recorded at Regent Sound Studios and Island Studios in London, England. The album's title track was written as an afterthought. As drummer Bill Ward explains: "We didn't have enough songs for the album, and Tony (Iommi) just played the guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." In the liner notes to the 1998 live album Reunion, bassist Geezer Butler recounts to Phil Alexander that they wrote the song "in five minutes, then I sat down and wrote the lyrics as quickly as I could. It was all done in about two hours." According to Alexander, "Paranoid" "crystallized the band's writing process, with Iommi initiating the ideas with his charred riffs, Ozzy (Osbourne) working on a melody, Geezer providing drive and the majority of the lyrics, and Bill Ward locking into a set of often pounding rhythms beneath Butler's bass rumble." The single was released in August 1970 and reached number four on the UK charts, remaining Black Sabbath's only top ten hit. Most of the songs on Paranoid evolved during onstage improvisational jams. In the Classic Albums documentary on the making of Paranoid, guitarist Tony Iommi recalls that "War Pigs" came from "one of the clubs" with Butler adding, "During the song "Warning" we used to jam that out and that particular night when we were jamming it out Tony just went da-dum!" In the same documentary, Iommi demonstrates his approach to the guitar solo in the song, explaining that "I always tried to keep the bottom string ringing so it fills it out nicely." On "Planet Caravan", Osbourne sings through a Leslie speaker, with the singer telling Mojo in 2010, "Then Rodger Bain used an oscillator on it – whatever that is. It looks like a fridge with a knob on." According to Butler, Ward's drum solo "Rat Salad" resulted from the band having to play 8 and 3/4-hour spots a night in Europe early in their career. "Bill used to fill out a whole 45 minutes doing a drum solo just to get rid of that 45 minutes," he revealed to Classic Albums. "I have no idea where the title came from, though." While Butler may have now forgotten where the title of "Rat Salad" came from, in 1971 he was on record stating it came from a joke about Ward's hair having not been combed. In 2013, Sabbath biographer Mick Wall described the closing track on the album, "Fairies Wear Boots", as a "hard-driving riff sweetened by a beautifully baleful melody" with a lyric written by Osbourne about a nasty encounter with a group of skinheads.

Maximum Overdrive is a 1986 American science fiction comedy horror film written and directed by Stephen King. The film stars Emilio Estevez, Pat Hingle, Laura Harrington, and Yeardley Smith. The screenplay was inspired by and loosely based on King's short story "Trucks", which was included in the author's first collection of short stories, Night Shift, and follows the events after all machines (including trucks, radios, drones, arcades, vending machines, etc.) become sentient when Earth crosses the tail of a comet, initiating a world-wide killing spree. The film is King's only directorial effort, though dozens of films have been based on his novels or short stories. It contained black humor elements and a generally campy tone, which contrasts with King's somber subject matter in books. The film has a mid-1980s hard rock soundtrack composed entirely by the group AC/DC (King's favorite band), whose album Who Made Who was released as the Maximum Overdrive soundtrack. It includes the best-selling singles "Who Made Who", "You Shook Me All Night Long", and "Hells Bells". Maximum Overdrive was theatrically released on July 25, 1986, to generally negative reviews from critics. It was nominated for two Golden Raspberry Awards including Worst Director for King and Worst Actor for Estevez in 1987, but both lost to Prince for Under the Cherry Moon. In 1988, Maximum Overdrive was nominated for "Best Film" at the International Fantasy Film Awards. King disowned the film, describing it as a "moron movie", and considered the process a learning experience, after which he intended never to direct again. As the Earth crosses the tail of a comet, previously inanimate machines suddenly spring to life; an ATM insults a customer (King in a cameo) and a bascule bridge rises during heavy traffic, causing all vehicles upon the bridge to fall into the river or collide. Chaos sets in as machines of all kinds begin attacking humans worldwide. At the Dixie Boy Truck Stop just outside Wilmington, North Carolina, employee Duncan Keller is blinded after a gas dispenser sprays diesel in his eyes. An electric knife injures waitress Wanda June, and arcade machines in the back room electrocute a customer. Cook and paroled ex-convict Bill Robinson begins to suspect something is wrong. Meanwhile, at a Little League game, a vending machine kills the coach by firing canned soda point-blank at him. A driverless road roller flattens one of the fleeing children, but Duncan's son Deke manages to escape on his bike. Newlyweds Connie and Curt stop at a gas station, where a tow truck tries to kill Curt, but he and Connie escape in their car. Deke rides through his town as humans and even pets are brutally killed by lawnmowers, chainsaws, electric hair dryers, pocket radios, RC cars and an ice cream truck. At the Dixie Boy, a garbage truck kills Duncan, and a truck sporting a giant Green Goblin mask on its grille runs over bible salesman Camp Loman. Later, several big rig trucks encircle the truck stop. If You Want Blood You've Got It (written as just If You Want Blood) is the first live album by Australian hard rock band AC/DC, and their only live album with Bon Scott as lead vocalist. It was originally released in the UK and Europe on 13 October 1978, in the US on 21 November 1978, and in Australia on 27 November 1978. By 1978, AC/DC had released five albums internationally and had toured Australia and Europe extensively. In 1977, they landed in America and, with virtually no radio support, began to amass a live following. The band's most recent album, the live If You Want Blood, had reached number 13 in the United Kingdom, and the two albums previous to that, 1977's Let There Be Rock and 1978's Powerage, had seen the band find their raging, blues-based hard rock sound. Although the American branch of Atlantic Records had rejected the group's 1976 LP Dirty Deeds Done Dirt Cheap, it now believed the band was poised to strike it big in the States if only they would work with a producer who could give them a radio-friendly sound. Since their 1975 Australian debut High Voltage, all of AC/DC's albums had been produced by George Young and Harry Vanda. According to the book AC/DC: Maximum Rock & Roll, the band was not enthusiastic about the idea, especially guitarists Angus Young and Malcolm Young, who felt a strong sense of loyalty to their older brother George: Being told what to do was bad enough but what really pissed off Malcolm and Angus was they felt that George was being treated disrespectfully by Atlantic, like an amateur with no great track record when it came to production ... Malcolm seemed less pleased with the situation and went so far as to tell Radio 2JJ in Sydney that the band had been virtually "forced" to go with an outside producer. Losing Harry was one thing. Losing George was almost literally like losing a sixth member of the band, and much more. The producer Atlantic paired the band with was South African-born Eddie Kramer, best known for his pioneering work as engineer for Jimi Hendrix but also for mega-bands Led Zeppelin and Kiss. Kramer met the band at Criteria Studios in Miami, Florida but, by all accounts, they did not get on... So someone died and they made a movie... "If You Want Blood (You've Got It)" is featured in the films Empire Records (1995), The Longest Yard (2005), The Dukes of Hazzard (2005), Shoot 'Em Up (2007), and Final Destination 5 (2011). "Hell Ain't a Bad Place to Be" (from Let There Be Rock)

The Terminator is a 1984 American science fiction action film directed by James Cameron. It stars Arnold Schwarzenegger as the Terminator, a cyborg assassin sent back in time from 2029 to 1984 to kill Sarah Connor (Linda Hamilton), whose unborn son will one day save mankind from extinction by Skynet, a hostile artificial intelligence in a post-apocalyptic future. Kyle Reese (Michael Biehn) is a soldier sent back in time to protect Sarah. The screenplay is credited to Cameron and producer Gale Anne Hurd, while co-writer William Wisher Jr. received an "additional dialogue" credit. Cameron devised the premise of the film from a fever dream he experienced during the release of his first film, Piranha II: The Spawning (1982), in Rome, and developed the concept in collaboration with Wisher. He sold the rights to the project to fellow New World Pictures alumna Hurd on the condition that she would produce the film only if he were to direct it; Hurd eventually secured a distribution deal with Orion Pictures, while executive producers John Daly and Derek Gibson of Hemdale Film Corporation were instrumental in setting up the film's financing and production. Originally approached by Orion for the role of Reese, Schwarzenegger agreed to play the title character after befriending Cameron. Filming, which took place mostly at night on location in Los Angeles, was delayed because of Schwarzenegger's commitments to Conan the Destroyer (1984), during which Cameron found time to work on the scripts for Rambo: First Blood Part II (1985) and Aliens (1986). The film's special effects, which included miniatures and stop-motion animation, were created by a team of artists led by Stan Winston and Gene Warren Jr. Defying low pre-release expectations, The Terminator topped the United States box office for two weeks, eventually grossing $78.3 million against a modest $6.4 million budget. It is credited with launching Cameron's film career and solidifying Schwarzenegger's status as a leading man. The film was followed by a series of films, including Terminator 3: Rise of the Machines (2003), Terminator Salvation (2009), Terminator Genisys (2015), and Terminator: Dark Fate (2019), as well as a 2008 television series. In 2008, The Terminator was selected by the Library of Congress for preservation in the United States National Film Registry as "culturally, historically, or aesthetically significant". Terminator 2: Judgment Day[a] is a 1991 American science-fiction action film directed by James Cameron, who co-wrote the script with William Wisher. Starring Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, and Edward Furlong, it is the sequel to The Terminator (1984) and is the second installment in the Terminator franchise. In its plot, the malevolent artificial intelligence Skynet sends a Terminator—a highly advanced killing machine—back in time to 1995 to kill the future leader of the human resistance, John Connor, when he is a child. The resistance sends back a less-advanced, reprogrammed Terminator to protect Connor and ensure the future of humanity. The Terminator was considered a significant success, enhancing Schwarzenegger's and Cameron's careers, but work on a sequel stalled because of animosity between the pair and Hemdale Film Corporation, which partially owned the film's rights. In 1990, Schwarzenegger and Cameron persuaded Carolco Pictures to purchase the rights from The Terminator producer Gale Anne Hurd and Hemdale, which was financially struggling. A release date was set for the following year, leaving Cameron and Wisher seven weeks to write the script. The pair frequently conferred with the special-effects studio Industrial Light & Magic (ILM) to determine whether their ideas for extensive special effects were possible. Principal photography began in October 1990 and lasted until March 1991, taking place in and around Los Angeles on an estimated $94–102 million budget, making it the most-expensive film made at the time. The advanced visual effects, which include the first use of a computer-generated main character in a blockbuster film, resulted in a schedule overrun, and theatrical prints were not delivered to theaters until the night before its July 3, 1991 release. Terminator 2 earned $519–520.9 million, making it the highest-grossing film of 1991 worldwide, and the third highest-grossing film of its time. Critics praised the visual effects, action sequences and cast, choosing Patrick's performance as the T-1000 as a great cinematic villain, while criticism was directed towards the film's violent content. Terminator 2 won several accolades, including Saturn, BAFTA, and Academy awards. Terminator 2 merchandise includes video games, comic books, novels, and T2-3D: Battle Across Time, a live-action attraction. Terminator 2 is considered one of the best films ever made, and one of the best science-fiction, action, and sequel films, as well as equal to or better than The Terminator. It is also seen as one of the most influential visual effects films of all time, beginning the transition from practical effects to reliance on computer-generated imagery. Although Cameron intended for Terminator 2 to be the end of the franchise, it was followed by a series of films, including Terminator 3: Rise of the Machines (2003), Terminator Salvation (2009), Terminator Genisys (2015), and Terminator: Dark Fate (2019), as well as a 2008 television series. In 2029, Earth is a wasteland dominated by the war between the malevolent artificial intelligence (AI) Skynet and the human resistance. Skynet sends the T-1000—an advanced, prototype, shape-shifting Terminator made of virtually indestructible liquid metal—back in time to kill the resistance leader John Connor when he is a child. To protect Connor, the resistance sends back a reprogrammed T-800 Terminator, a less-advanced metal endoskeleton that is covered in synthetic flesh. In 1995 Los Angeles, John's mother Sarah has been incarcerated at the Pescadero State Hospital for her violent, fanatical efforts to prevent "Judgment Day"—the prophesied events of August 29, 1997, when Skynet will gain sentience and, in response to its creators' attempts to deactivate it, incite a nuclear holocaust. John is taken in by foster parents. He considers Sarah's beliefs to be delusional and resents her efforts to prepare him for his future role. The original title of "War Pigs" was "Walpurgis", dealing with the witches' sabbath. "Walpurgis is sort of like Christmas for Satanists. And to me, war was the big Satan", said bassist and lyricist Geezer Butler. "It wasn’t about politics or government or anything. It was Evil itself. So I was saying 'generals gathered in the masses / just like witches at black masses' to make an analogy. But when we brought it to the record company, they thought 'Walpurgis' sounded too Satanic. And that's when we turned it into 'War Pigs'. But we didn't change the lyrics, because they were already finished." During this time period, mandatory army service had recently ended in Britain but with the Vietnam War raging, many young men feared they'd be conscripted to fight in it. "That's what started this whole rebellion thing about not going to war for anybody", said Butler. "I was dreading being called up", the lyricist recalled. Prior to its official release, the band often altered the lyrics significantly when performing it live. An example of this can be found on Ozzy Osbourne's compilation The Ozzman Cometh, which features an early version recorded by Black Sabbath for BBC Radio 1 on 26 April 1970. While Butler has said that "War Pigs" is "totally against the Vietnam War, about how these rich politicians and rich people start all the wars for their benefit and get all the poor people to die for them", vocalist Osbourne has stated that the group "knew nothing about Vietnam. It's just an anti-war song." The song's instrumental outro is entitled "Luke's Wall" on US releases of the album, formatted as "War Pigs/Luke's Wall". Drummer Bill Ward's first memory of performing the song was at The Beat Club in Switzerland in 1968. The band was required to play multiple sets every night and had little material in their repertoire at that point, so they would perform lengthy jam sessions to fill in the sets. Co-writer and lead guitarist Tony Iommi has said that "War Pigs" originated from one of those jam sessions. The addition of the air-raid siren and the speeding up of the song's end were done by producer Rodger Bain and engineer Tom Allom. The band had no input in these decisions, though they were pleased with the results.

Patton is a 1970 American epic biographical war film about U.S. General George S. Patton during World War II. It stars George C. Scott as Patton and Karl Malden as General Omar Bradley, and was directed by Franklin J. Schaffner from a script by Francis Ford Coppola and Edmund H. North, who based their screenplay on Patton: Ordeal and Triumph by Ladislas Farago and Bradley's memoir, A Soldier's Story. Patton won seven Academy Awards, including Best Picture, Best Director and Best Original Screenplay. Scott also won the Academy Award for Best Actor for his portrayal of General Patton, but declined to accept the award. The opening monologue, delivered by Scott as General Patton with an enormous American flag behind him, remains an iconic and often quoted image in film. In 2003, Patton was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant". The Academy Film Archive also preserved Patton in 2003. General George S. Patton addresses an unseen audience of American troops, emphasizing the importance Americans place upon victorious role models as well as his own demands that his men defeat the enemy by working and fighting as a team. Germany eventually capitulates, though Patton's outspokenness lands him in trouble once again when he compares American politics to Nazism. Though he loses his command once again, Patton is kept on to see the rebuilding of Germany in the post war period. In a final scene Patton is seen walking Willie, his bull terrier. Patton's voice is heard: "For over a thousand years, Roman conquerors returning from the wars enjoyed the honor of a triumph - a tumultuous parade. In the procession came trumpeters and musicians and strange animals from the conquered territories, together with carts laden with treasure and captured armaments. The conqueror rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children, robed in white, stood with him in the chariot, or rode the trace horses. A slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning: that all glory ... is fleeting." "99 Problems" is the third single released by American rapper Jay-Z in 2004 from The Black Album. It was released on April 27, 2004. The chorus hook "I got 99 problems, but a bitch ain't one" is taken from the Ice-T single "99 Problems" from the album Home Invasion (1993). The hook was coined during a conversation between Ice-T and Brother Marquis of Miami-based 2 Live Crew. Marquis used the phrase in the 1996 2 Live Crew song "Table Dance". In the song, Jay-Z tells a story about dealing with rap critics, racial profiling from a police officer who wants to search his car, and an aggressor. The song reached number 30 on the Billboard Hot 100. The track was produced by Rick Rubin, his first hip hop production in many years. Rubin provided Jay-Z with a guitar riff and stripped-down beat that were once his trademarks. In creating the track Rubin used some classic 1980s sample staples such as "The Big Beat" by Billy Squier, "Long Red" by Mountain, and "Get Me Back On Time" by Wilson Pickett. Featuring the same Billy Squier drum beat sample, Dizzee Rascal released "Fix Up, Look Sharp" in August 2003 prior to The Black Album's release. The title and chorus are derived from Ice-T's "99 Problems" from his 1993 album Home Invasion. The song featured Brother Marquis of 2 Live Crew. The original song was more profane and describes a wide range of sexual conquests. Ice-T would re-record his version of the song with the Rubin/Jay-Z guitar riff for Body Count's 2014 album Manslaughter in order to "reclaim" the hook from being mis-attributed to Jay-Z. Portions of Ice-T's original lyrics were similarly quoted in a song by fellow rapper Trick Daddy on a track also titled "99 Problems" from his 2001 album Thugs Are Us. Jay-Z begins his third verse directly quoting lines from Bun B's opening verse off the track "Touched" from the UGK album Ridin' Dirty. The second verse, describing Jay-Z's traffic stop, has received much more attention than the rest of the song. The second verse was based on an actual experience of Jay-Z in the 1990s in New Jersey. He wrote that in 1994 he was pulled over by police while carrying cocaine in a secret compartment in his sunroof. He refused to let the police search the car and the police called for drug-sniffing dogs. However, the dogs never showed up and the police had to let him go. Moments after he drove away, he saw a police car with the dogs drive by. In a discussion at the Celeste Bartos Forum at the New York Public Library, Jay-Z described the second verse of the song as representing "a contest of wills" between the car's driver who is "all the way in the wrong" for carrying illegal drugs, and a racist police officer who pulls over the driver not for any infraction but for being African-American. "Both guys are used to getting their way" and thus reluctant to back down, Jay-Z notes, and the driver "knows a bit about the law because he's used to breaking it" and asserts his legal rights. In 2011 Southwestern Law School Professor Caleb Mason wrote an article with a line-by-line analysis of the second verse of the song from a legal perspective referencing the Fourth Amendment to the United States Constitution, citing it as a useful tool for teaching law students search and seizure law involving search warrants, Terry stops, racial profiling, the exclusionary rule, and the motor vehicle exception. Mason writes that some of Jay-Z's lyrics are legally accurate and describe prudent behavior (e.g., identifying when police ask for consent to search, specifically asking if one is under arrest, and complying with the police order to stop rather than fleeing which would certainly result in a search of the car and might authorize police to use lethal force to stop a high speed chase). However, Mason also notes the song lyrics are legally incorrect in indicating that a driver can refuse an order to exit the car and that police would need a warrant to search a locked glove compartment or trunk—in fact, police would only need probable cause to search a car. In 2012, Professor Emir Crowne of the University of Windsor Faculty of Law wrote an article concluding that Jay-Z's lyrics may be legally correct under Canadian law. While the song's meaning is widely debated, the chorus "If you're having girl problems, I feel bad for you son/I've got 99 problems but a bitch ain't one" was defined in Jay-Z's book, Decoded, as referring to something different in each verse. In verse two, it refers to a police dog. 99 Problems Jay-Z EXPLICIT Written by: Felix Pappalardi, William Squier, Norman Landsberg, Alphonso Henderson, Tracy Lauren Marrow, Leslie Weinstein, John Elias Ventura Album: The Black Album (UK Version) Released: 2003 If you're havin' girl problems I feel bad for you son I got 99 problems but a bitch ain't one I got the rap patrol on the gat patrol Foes that want to make sure my casket's closed Rap critics that say he's "Money Cash Hoes" I'm from the hood, stupid what type of facts are those? If you grew up with holes in your zapatos You'd celebrate the minute you was havin' dough I'm like "Fuck critics, you can kiss my whole asshole If you 'on't like my lyrics, you can press fast forward" Got beef with radio if I 'on't play they show They 'on't play my hits, well, I 'on't give a shit, so Rap mags try and use my black ass So advertisers can give 'em more cash for ads, fuckers I 'on't know what you take me as Or understand the intelligence that Jay-Z has I'm from rags to riches, niggas I ain't dumb I got 99 problems but a bitch ain't one, hit me 99 problems but a bitch ain't one If you havin' girl problems I feel bad for you son I got 99 problems but a bitch ain't one, hit me Year's '94 and my trunk is raw In my rear view mirror is the motherfuckin' law I got two choices y'all, pull over the car or, hmm Bounce on the devil, put the pedal to the floor Now I ain't tryin' to see no highway chase with Jake Plus I got a few dollars I could fight the case So I, pull over to the side of the road I heard "Son, do you know why I'm stoppin' you for?" "'Cause I'm young and I'm black and my hat's real low? Or do I look like a mind reader, sir? I don't know Am I under arrest or should I guess some mo'?" "Well you was doin' 55 in the 54" "Uh huh" "License and registration and step out of the car Are you carryin' a weapon on you? I know a lot of you are" "I ain't steppin' out of shit, all my papers legit" "Well do you mind if I look around the car a lil' bit?" "Well my glove compartment is locked, so is the trunk and the back And I know my rights so you gon' need a warrant for that" "Aren't you sharp as a tack? You some type of lawyer or something? Somebody important or something?" "Child, I ain't passed the bar, but I know a lil' bit Enough that you won't illegally search my shit" "Well we'll see how smart you are when the K-9 come" I got 99 problems but a bitch ain't one, hit me 99 problems but a bitch ain't one If you havin' girl problems I feel bad for you son I got 99 problems but a bitch ain't one, hit me 99 problems but a bitch ain't one If you havin' girl problems I feel bad for you son I got 99 problems but a bitch ain't one, hit me Now once upon a time not too long ago A nigga like myself had to strong arm a hoe This is not a hoe in the sense of havin' a pussy But a pussy havin' no goddamn sense try and push me I tried to ignore 'em, talk to the Lord Pray for 'em, cause some fools just love to perform You know the type, loud as a motorbike But wouldn't bust a grape in a fruit fight The only thin' that's gon' happen is I'ma get to clappin' and He and his boys gon' be yappin' to the captain And there I go trapped in the Kit Kat again Back through the system with the riff raff again Fiends on the floor scratchin' again Paparazzi's with they cameras, snappin' them D.A. tried to give a nigga shaft again Half a mil' for bail cause I'm African All because this fool was harassin' 'em Tryin' to play the boy like he's saccharine But ain't nothin' sweet 'bout how I hold my gun I got 99 problems, bein' a bitch ain't one, hit me 99 problems but a bitch ain't one If you havin' girl problems I feel bad for you son I got 99 problems but a bitch ain't one, hit me (gosh) 99 problems but a bitch ain't one If you havin' girl problems I feel bad for you son I got 99 problems but a bitch ain't one, hit me Woo, woo, uh, uh Havin' girl problems I feel bad for you son I got 99 problems and a bitch ain't one You're crazy for this one, Rick, it's your boy

Repo Man is a 1984 American science fiction black comedy film written and directed by Alex Cox in his directorial debut. It stars Harry Dean Stanton and Emilio Estevez, with Tracey Walter, Olivia Barash, Sy Richardson, Vonetta McGee, Fox Harris, and Dick Rude among the supporting cast. Set in Los Angeles, the plot concerns a young punk rocker (Estevez) who is recruited by a car repossession agency and gets caught up in the pursuit of a mysterious Chevrolet Malibu that might be connected to extraterrestrials. A satire of America under the Reagan administration, consumerism and the Atomic Age, Repo Man was developed by Cox in partnership with his fellow film school graduates from UCLA, independent producers Jonathan Wacks and Peter McCarthy. His inspiration for the film came from his own experiences working with repossession agent Mark Lewis. Originally conceiving of it as a road movie, Cox reconfigured the story to take place mostly in Los Angeles to maintain its budget. Michael Nesmith of The Monkees came on board the project as an executive producer, and secured a negative pickup deal with Universal Pictures. Principal photography ran through summer 1983, during which Cox encouraged improvisation from the cast; the film's ending notably differed from what had originally been written. The soundtrack, headlined by a main theme composed and performed by Iggy Pop, is noted as a snapshot of 1980s hardcore punk; Cox wanted the music to underscore the life of repo men. Despite a troubled initial release due to Universal's skepticism towards the film's commercial viability, Repo Man received widespread acclaim, and was deemed by critics to be one of the best films of 1984. It has since gained a cult following, particularly surrounding Cox's re-edited version of the film for television due to its deliberate inclusion of surreal overdubs to replace profanity. In the Mojave Desert, a policeman pulls over a 1964 Chevrolet Malibu driven by J. Frank Parnell. The policeman opens the trunk, sees a blinding flash of white light, and is instantly vaporized, leaving only his boots behind. Otto Maddox, a young punk rocker in L.A., is fired from his job as a supermarket stock clerk. His girlfriend leaves him for his best friend. Depressed and broke, Otto is wandering the streets when Bud drives up and offers him $25 to drive a car out of the neighborhood, supposedly for his wife. Otto follows Bud in the car to the Helping Hand Acceptance Corporation, where he learns the car he drove was being repossessed. He refuses to join Bud as a "repo man," and goes to his parents'. After learning that his burned-out ex-hippie parents have donated the money that they promised him as a reward for graduating from high school to a televangelist, he decides to take the repo job. After repossessing a flashy red Cadillac, Otto sees Leila running down the street. He gives her a ride to her workplace, the United Fruitcake Outlet. On the way, she shows him pictures of aliens that she says are in the trunk of a Chevy Malibu. She says they are dangerous due to the radiation they emit. Meanwhile, Helping Hand is offered a $20,000 bounty notice for the Malibu. Most assume that the repossession is drug-related because the bounty is far above the actual value of the car. Parnell arrives in L.A. driving the Malibu, but he is unable to meet his waiting UFO compatriots because of a team of government agents led by a woman with a metal hand. When Parnell pulls into a gas station, Helping Hand's competitors, the Rodriguez brothers, take the Malibu. They stop for sodas because the car's trunk is hot. While they are out of the car a trio of Otto's punk friends, who are on a crime spree, steal it. After visiting a nightclub, Parnell appears and tricks the punks into opening the trunk, killing one of them and scaring the other two away. Later, he picks up Otto and drives aimlessly, before collapsing and dying from radiation. After surviving a convenience store shootout with the punks that leaves Bud wounded and punk Duke dead, Otto takes the Malibu back to Helping Hand and leaves it in the lot. The car is stolen again, and a chase ensues. By this time, the car is glowing bright green. Eventually, the Malibu reappears at the Helping Hand lot with Bud behind the wheel, but he ends up being shot. The various groups trying to acquire the car soon show up; government agents, the UFO scientists, and the televangelist. Anyone who approaches it bursts into flames, even those in flame-retardant suits. Only Miller, an eccentric mechanic at Helping Hand who had explained earlier to Otto that aliens exist and can travel through time in their spaceships, is able to enter the car. He slides behind the wheel and beckons Otto into the Malibu. After Otto settles into the passenger seat, it lifts straight up into the air and flies away, first through the city's skyline and later into space. Burning Sensations was a short-lived Los Angeles area rock band. The group is best known for its MTV hit "Belly of the Whale", the music for which blends a rather unusual fusion of rock and calypso styles, and for covering the Jonathan Richman song "Pablo Picasso", which was included in both the 1984 film and soundtrack of director Alex Cox's Repo Man. "Repo Man", a song by Iggy Pop from this soundtrack album

Breakfast in America is the sixth studio album by the English rock band Supertramp, released by A&M Records on 29 March 1979. It was recorded in 1978 at The Village Recorder in Los Angeles. It spawned four US Billboard hit singles: "The Logical Song" (No. 6), "Goodbye Stranger" (No. 15), "Take the Long Way Home" (No. 10) and "Breakfast in America" (No. 62). In the UK, "The Logical Song" and the title track were both top 10 hits, the only two the group had in their native country. At the 22nd Annual Grammy Awards in 1980, Breakfast in America won two awards for Best Album Package and Best Engineered Non-Classical Recording, as well as nominations for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. It holds an RIAA certification of quadruple platinum and became Supertramp's biggest-selling album, with more than 4 million copies sold in the US and more than 3 million in France (the fourth ever best-selling album). It was No. 1 on Billboard Pop Albums Chart for six weeks, until 30 June 1979. The album also hit No. 1 in Norway, Austria, West Germany, the Netherlands, Spain, Canada, Australia and France. As with Even in the Quietest Moments..., Rick Davies and Roger Hodgson wrote most of their songs separately but conceived the theme for the album jointly. Their original concept was for an album of songs about the relationship and conflicting ideals between Davies and Hodgson themselves, to be titled Hello Stranger. Hodgson explained: "We realized that a few of the songs really lent themselves to two people talking to each other and at each other. I could be putting down his way of thinking and he could be challenging my way of seeing life [...] Our ways of life are so different, but I love him. That contrast is what makes the world go 'round and what makes Supertramp go 'round. His beliefs are a challenge to mine and my beliefs are a challenge to his." Goodbye Stranger Supertramp Written by: Hodgson Davies Album: Breakfast In America Released: 1979 It was an early morning yesterday I was up before the dawn And I really have enjoyed my stay But I must be moving on Like a king without a castle Like a queen without a throne I'm an early morning lover And I must be moving on Now I believe in what you say Is the undisputed truth But I have to have things my own way To keep me in my youth Like a ship without an anchor Like a slave without a chain Just the thought of those sweet ladies Sends a shiver through my veins And I will go on shining Shining like brand new I'll never look behind me My troubles will be few Goodbye stranger it's been nice Hope you find your paradise Tried to see your point of view Hope your dreams will all come true Goodbye Mary, goodbye Jane Will we ever meet again Feel no sorrow, feel no shame Come tomorrow, feel no pain Sweet devotion (Goodby Mary) It's not for me (Goodbye Jane) Just give me motion (Will we ever) To set me free (Meet again) In the land and the ocean (Feel no sorrow) Far away (Feel no shame) It's the life I've chosen (Come tomorrow) Every day (Feel no pain) So goodbye Mary (Goodbye, Mary) So goodbye Jane (Goodbye, Jane) Will we ever (Will we ever) Meet again (Meet again) Now some they do and some they don't And some you just can't tell And some they will and some they won't With some it's just as well You can laugh at my behaviour And that'll never bother me Say the devil is my saviour But I don't pay no heed And I will go on shining Shining like brand new I'll never look behind me My troubles will be few Goodbye, stranger, it's been nice Hope you find your paradise Tried to see your point of view Hope your dreams will all come true Goodbye Mary, goodbye Jane Will we ever meet again Feel no sorrow, feel no shame Come tomorrow, feel no pain Sweet devotion (Goodbye, Mary) It's not for me (Goodbye, Jane) Just give me motion (Will we ever) To set me free (Meet again) In the land and the ocean (Feel no sorrow) Far away (Feel no shame) It's the life I've chosen (Come tomorrow) Every day (Feel no pain) So now I'm leaving (Goodbye, Mary) Got to go (Goodbye, Jane) Hit the road (Will we ever) I'll say it once again (Meet again) Oh, yes, I'm leaving (Feel so sorrow) Got to go (Feel no shame) Got to go (Come tomorrow) I'm sorry, I must dash (Feel no pain) So goodbye Mary (Goodbye, Mary) So goodbye Jane (Goodbye, Jane) Will we ever (Will we ever) Meet again? (Meet again) Go and believe it I've got to go

"Point of Know Return" is a song by the band Kansas written by Steve Walsh (lyrics), Robby Steinhardt, and Phil Ehart (who suggested the album's title, which inspired the lyrics to the song) for their 1977 album Point of Know Return. It has been re-released on many compilation and live albums, including The Best of Kansas, The Kansas Boxed Set, The Ultimate Kansas, Sail On: The 30th Anniversary Collection, Two for the Show, Live at the Whisky, King Biscuit Flower Hour Presents Kansas, Dust in the Wind, Device, Voice, Drum, and There's Know Place Like Home. Live video performances were also released on Device, Voice, Drum and There's Know Place Like Home. The musical publishing organization BMI presented certifications to the songwriters for over 2 million plays of the song in 2013, as part of the band's 40th anniversary celebration at a concert in Pittsburgh. Steve Walsh – lead vocals, keyboards Robby Steinhardt – violin, backing vocals Kerry Livgren - guitar Rich Williams – guitar Dave Hope – bass Phil Ehart – drums James Gunn used the song in his film The Suicide Squad (2021). "Dust in the Wind" by Kansas and written by band member Kerry Livgren, first released on their 1977 album Point of Know Return. The song peaked at No. 6 on the Billboard Hot 100 the week of April 22, 1978, making it Kansas's only single to reach the top ten in the US. The 45-rpm single was certified Gold for sales of one million units by the RIAA shortly after the height of its popularity as a hit single. More than 25 years later, the RIAA certified Gold the digital download format of the song, Kansas' only single to be so certified as of September 17, 2008. The title of the song is a Bible reference, paraphrasing Ecclesiastes: I reflected on everything that is accomplished by man on earth, and I concluded: everything he has accomplished is futile — like chasing the wind! A meditation on mortality and the inevitability of death, the lyrical theme bears a striking resemblance to the biblical passages Genesis 3:19 ("...for dust thou art, and unto dust shalt thou return.") and Ecclesiastes 3:20 ("All go to one place. All are from the dust, and to dust all return."). The phrase "dust in the wind" occurs in Psalms 18:43 ("I ground [my enemies] like dust on the face of the wind..."). It is similar to the famous opening lines of the Japanese war epic The Tale of the Heike ("...the mighty fall at last, and they are as dust before the wind.") and from a book of Native American poetry, which includes the line "for all we are is dust in the wind." Kerry Livgren devised what would be the guitar line for "Dust in the Wind" as a finger exercise for learning fingerpicking. His wife, Vicci, heard what he was doing, remarked that the melody was nice, and encouraged him to write lyrics for it. Livgren was unsure whether his fellow band members would like it, since it was a departure from their signature style. After Kansas had rehearsed all the songs intended for the band's recording sessions of June and July 1976, Livgren played "Dust in the Wind" for his bandmates, who after a moment's "stunned silence" asked: "Kerry, where has this been?" Kansas guitarist Rich Williams would recall that Livgren played his bandmates "a real rough recording of him playing ['Dust in the Wind'] on an old reel to reel. [He] just kind of mumbl[ed] the lyrics, [but] even [hearing it] in that bare form...we said: 'That's our next single.'" Recorded at Woodland Studios in Nashville, "Dust in the Wind" featured Livgren playing a Martin D-28 acoustic guitar borrowed from Williams: highlighted by the electric violin work of Robby Steinhardt, the track featured Steve Walsh as lead vocalist despite being recorded after Walsh had given his immediately effective resignation to his bandmates (Walsh's 1977 "departure" from Kansas would last a month).