Psychological operations

Unlike some "local" South Carolina lawyer with all 9's in his phone number who claims to have been a Marine and is currently a lawyer... my daddy has you beat. He done all that in the Marines while training Navy pilots in Pensacola, then during the most famous snow storm in all of South Carolina lore... he flew the Governor and a General around... probably sprayed the sh1t that caused the freak storm in the first place... or knew the guys at Shaw AFB that done it.

Sgt. Pepper's Lonely Hearts Club Band Maxwell's Silver Hammer Steve Martin

Though this song first saw the light of day on Transformer, it dates back to Reed's band The Velvet Underground, and a version of the song recorded by The Velvet Underground surfaced on the Peel Slowly And See box set. That version is a much harder rocker than the version on Transformer, with a faster tempo, and without the piano line that dominates the later version. The lyrics are also different; "I've been told that you've been bold with Harry, Mark and John," Reed sings in the bridge. In the Velvets' take, the three cads came from a 19th century children's poem: Wynken, Blynken and Nod. "Best left forgotten," Reed explained of the original lyric in 1994. "I probably wanted to make sure I wasn't using a name that really meant something to me. I mean the song is about the worst kind of jealousy." David Bowie, who used lots of space imagery in his own work, produced this track and sang backup vocals. Regular Bowie sideman Mick Ronson played both piano and recorder on this track. In the 1987 Def Leppard hit "Rocket," the line in the chorus, "Satellite of love," is a reference to this song. An updated version titled "Satellite of Love '04" was released in the United Kingdom in 2004, making it to #10 on the singles Chart. Morrissey released a cover of the song following Lou Reed's death on October 27, 2013. The former Smiths frontman's version was recorded at the Chelsea Ballroom at the Cosmopolitan in Las Vegas in 2011. "He has been there all of my life," wrote Morrissey of the late Velvet Underground vocalist. "He will always be pressed to my heart. Thank God for those, like Lou, who move within their own laws, otherwise imagine how dull the world would be." Beck performed this song at the Rock and Roll Hall of Fame induction ceremony when Lou Reed was inducted in 2015. Satellite's gone up to the skies Things like that drive me out of my mind I watched it for a little while I like to watch things on TV Satellite of love Satellite of love Satellite of love Satellite of Satellite's gone way up to Mars Soon it'll be filled with parkin' cars I watched it for a little while I love to watch things on TV Satellite of love Satellite of love Satellite of love Satellite of I've been told that you've been bold With Harry, Mark and John Monday and Tuesday, Wednesday through Thursday With Harry, Mark and John Satellite's gone up to the skies Things like that drive me out of my mind I watched it for a little while I love to watch things on TV Satellite of love Satellite of love Satellite of love Satellite of Satellite of love Satellite of love Satellite of love Satellite (satellite) of love Satellite (satellite) of love Satellite (satellite) of love Satellite (satellite) of love Satellite (satellite) of love

Rocky Raccoon The Beatles Written by: Paul Mccartney, John Lennon Album: The Beatles (The White Album) Released: 1968 The main character was originally called Rocky Sassoon but McCartney changed it to Raccoon, as he thought the name was more cowboyish. Paul McCartney wrote this song. He got the idea for it when he was playing guitar with John Lennon and Donovan Leitch at the Maharishi's camp in India. The Beatles went there in 1968 to study transcendental meditation. Beatles producer George Martin played the piano in an old-west saloon style. Several Beatles songs feature piano parts, which were usually played by either Martin, Lennon, Nicky Hopkins or Billy Preston. Most Bibles found in hotel rooms came from a group called Gideons International, and are thus known as "Gideon's Bibles." In this song, Rocky checks into a room before the showdown, where he finds one. At the end of the song, he returns to the room and encounters the Bible again. He figures it was some kind of sign: a guy named Gideon must have left it for him to aid in his recovery. Rocky isn't the sharpest tool in the shed. In the Jethro Tull song "Locomotive Breath," there is also a mention of these Bibles: "He picks up Gideons Bible Open at page one I think God, He stole the handle and The train won't stop going" There is both a harmonica and accordion on this track. The harmonica, likely played by John Lennon, comes in at the "in the next room at the hoedown" line. The accordion, possibly played by McCartney, can be heard starting with the line, "The doctor came in, stinking of gin." Richie Havens released this as the B-side to his "Stop Pulling and Pushing Me" single in 1969. Now somewhere in the Black Mountain Hills of Dakota There lived a young boy named Rocky Raccoon And one day his woman ran off with another guy Hit young Rocky in the eye Rocky didn't like that He said, "I'm gonna get that boy" So one day he walked into town Booked himself a room in the local saloon Rocky Raccoon Checked into his room Only to find Gideon's Bible Rocky had come equipped with a gun To shoot off the legs of his rival His rival, it seems Had broken his dreams By stealing the girl of his fancy Her name was Magill And she called herself Lil But everyone knew her as Nancy Now she and her man Who called himself Dan Were in the next room at the hoedown Rocky burst in and grinning a grin He said, "Danny boy, this is a showdown" But Daniel was hot He drew first and shot And Rocky collapsed in the corner Now, the doctor came in stinking of gin And proceeded to lie on the table He said, "Rocky, you met your match" And Rocky said, "Doc, it's only a scratch And I'll be better, I'll be better, Doc, as soon as I am able" Now Rocky Raccoon He fell back in his room Only to find Gideon's Bible Gideon checked out And he left it no doubt To help with good Rocky's revival, oh, ooh, yeah, yeah Come on Rocky boy, do the do-do-do Come on Rocky boy, do the do-do-do Do-do-do, yeah, I saw you rockin' at the top

I've been doing this bit now for way TOO long... but the ONE TAKE AWAY everyone should have; NOT ONE MEMBER OF THE FRATERNAL ORDER OF POLICE HAVE STEPPED UP TO DEFEND THEMSELVES... SCUM THAT THEY ARE. The manifesto from Covenant school shooter Audrey Hale will be released after authorities prepare it for public consumption. “The investigation has advanced to the point that writings from the Covenant shooter are now being reviewed for public release and that process is underway and will take a little time,” a Metro Nashville Police Department spokesperson told The Post. "Nashville's police statement Thursday comes a week after local pols told The Post Hale's manifesto was a "blueprint on total destruction" and blamed the FBI for stalling its release. Nashville Christian school shooter Audrey Hale’s manifesto to be released after cops review for public"... By David Propper NY Post April 27, 2023 7:29pm The camera footage of the removal of Audrey Hale's head was immediately released after presumably "after authorities prepare it for public consumption." ERGO... they are altering the "evidence" for the narrative they wish to portray which always involves MORE COPS IN MORE SCHOOLS, and never suggests the Fraternal Order of Police are performing these acts for a PURPOSE THEY WERE ORDERED TO PERFORM. Gate keeping would NEVER SUGGEST it's an inside job... Right FOP? Obligation I, …, in the presence of the Creator of the Universe and the members of the Fraternal Order of Police here assembled, do most solemnly and sincerely promise and swear, that I will to the best of my ability comply with all the laws and rules of this Order; that I will recognize the authority of my legally elected officers and obey all orders therefrom not in conflict with my religious or political views, or my rights as an American citizen; that I will not cheat, wrong, or defraud this Order, or any member thereof, or permit the same to be done if in my power to prevent it; that I will at all times aid and assist a worthy Brother (or Sister) in sickness or distress, so far as it lies in my power to do so; that I will not divulge any of the secrets of this Order to any one not entitled to receive them. To all of which I most solemnly and sincerely promise and swear. Should I violate this, my solemn oath or obligation, I hereby consent to be expelled from the Order. Julie's Been Working for the Drug Squad The Clash Written by: Topper Headon, Mick Jones, Paul Simonon, Joe Strummer Album: Give 'Em Enough Rope Released: 1978 It's "Lucy in the sky" and all kinds of apple pie She giggles at the screen 'cos it looks so green There's carpets on the pavements And feathers in her eye But sooner or later Her new friends will realize That Julie's been working for the drug squad Julie's been working for the drug squad She can even look you in the eye Well it seemed like a dream Too good to be true Stash it in the bank while the tablets grow high In their millions And everybody's high Hi, man But there's someone looking down From that mountainside Cause Julie's been working for the drug squad Cause Julie's been working for the drug squad Gumbo Ten years for you Nineteen for you And you can get out in twenty-five That is if you're still alive Oh, alive Oh yeah, alive Oh, alive Oh And then there came the night of the greatest ever raid They arrested every drug that had ever been made They took eighty-two laws Through eighty-two doors And they didn't halt the pull Till the cells were all full 'Cos julie was working for the drug squad Julie's been working for the drug squad They put him in a cell They said you wait here You've got the time to count all of your hair You've got fifteen years A mighty long time You could have been a physicist But now your name is on the mailbag list Julie's been working for the drug squad Julie's been working for the drug squad Gumbo Ten years for you Nineteen for you And you can get out in twenty-five That is if you're still alive Oh, alive You're still I said, you're still

"Death or Glory" is the motto of The Royal Lancers, an armored cavalry regiment in the British 1st Armored Infantry Brigade. It's one of the best known mottoes in England. Joe and the lads were cocking a snook at the myth of the noble, honorable military in this song. The amusing lyric, "he who f--ks nuns will later join the church" is a metaphor for teenagers who rebel against authority growing up and becoming authority figures themselves, becoming all that they fought against before. Journalist Lester Bangs believed the lyric about a "gimmick-hungry yob" related specifically to Sham 69 lead singer Jimmy Pursey, although as The Clash were friends with Pursey and the band this unlikely and is more likely a generic reference to bands trying to make a quick buck out of rock music. Freyr is a member of the Vanir tribe. There are two tribes of gods in Norse mythology, the Vanir and the Aesir. The Vanir are generally considered fertility gods, while the Aesir are known as warrior gods. As such, it makes sense that Freyr is known as a god of fertility and peace. He is also strongly associated with the sun, which gives us a good idea of his importance. Across many cultures, sun gods tend to be at, or close to, the top of their respective pantheons. Freyr is described in old poems as being first among the gods when it came to reputation. Apparently, no one disliked him among all the people. Freyr is usually depicted as a virile, muscular man with long flowing hair. Often, he is carrying a sword and he is almost always accompanied by his gigantic golden-bristled boar, Gullinbursti. Since Freyr is both the son of the ocean god and himself the sun god, we can see both of those themes in artwork that depicts him. Some images will show him holding an antler, since in one of his myths he is forced to give his sword away and must make do with an antler instead. As a god of fertility, Freyr is sometimes shown as a man who is very well-endowed. Like nearly all of the Norse gods, Freyr is part giant – in this case, on his mother’s side. He’s the son of the frost giantess, Skadi, and the god of the sea, Njord. He is also the twin brother of his equally beautiful and famous sister Freyja. His sister rules over much that Freyr does, but additionally presides over death and war. Some accounts do not identify Skadi as Freyr’s mother, but rather as the unnamed sister of Njord. In that case, Freyr’s mother would also be his aunt, but that sort of marriage was not at all uncommon among the gods. After Freyr was born, he was given a gift to commemorate his first tooth, which is a Norse tradition. That gift was Alfheim, one of the nine worlds in the branches of Yggdrasil and home to the elves. It’s not clear if this actually makes Freyr the ruler of Alfheim, but it certainly was his home. Over the course of his life, Freyr came into possession of many treasures, much as you’d expect for a god of wealth. One of his greatest treasures was his ship, Skithblathnir. This ship was an amazing magical vessel that always had a favorable wind, no matter what. That, however, was not its greatest trick: Skithblathnir could be folded up into a tiny object that could fit inside a bag. This amazing ship let Freyr travel the seas easily. On land he wasn’t forced to go on foot, either. He had a magnificent chariot drawn by boars that brought peace wherever it went. One of the most famous stories in Freyr’s history tells us how he fell in love. After the war between the Aesir and the Vanir was over, Freyr became one of the hostages who joined the Aesir. One day, he decided to sit on Odin’s throne, which had the power to show the user anything in the nine worlds of Yggdrasil. Since he is such a prominent god in Norse mythology there are extensive writings about him and his deeds. As with most Norse mythology, we can read about him in the Prose Edda and Poetic Edda. There are many archeological forms of evidence that Freyr has been worshipped. Worship of Freyr is especially associated with Sweden, so much so that it is believed the Swedish royal house directly descends from him. Clearly, he is woven deeply into the culture and history of the Scandinavian and Germanic people, a radiant god whose presence can still be felt today in the art and stories of that part of the world.

The song tells of the meeting of two great chess players, one Soviet and one American, in Bangkok, which is the capital of Thailand. Chess is a musical production that uses a US-USSR chess rivalry as a metaphor for the Cold War, but this song just contains double-entendres about the game of Chess compared to the Bangkok nightlife. The example often used is "I would invite you, but the queens we use would not excite you." Chess was a musical that premiered in London's West End. This song was written for the 1984 concept album, which was recorded well ahead of the production. The album was very successful considering it was for a musical. The album charted in the Top 10 in the UK, #47 in the US, and #1 in Sweden. Another song from the album, "I Know Him So Well," held the #1 spot in the UK for four weeks in February 1985, being deposed by "You Spin Me Right Round" by Dead or Alive. The Broadway production of Chess was heavily altered and unsuccessful. >> Along with the rest of the songs from Chess, the music was written by Björn Ulvaeus and Benny Andersson of ABBA, and Tim Rice wrote the lyrics. Rice has written for many film and theatrical productions, including the song "Can You Feel The Love Tonight" from The Lion King. A little over 2 minutes into this song, there is a flute solo using a difficult flutter tongue technique similar to that used on many Jethro Tull songs. It was played by a Swedish musician named Bjorn Jason Lindh. Murray Head is an actor who has been in several movies and stage productions. He is barely out of the one-hit-wonder category because of his 1971 version of "Superstar" from the Jesus Christ Superstar production where he played Judas. It his #14 in the US in 1971. Before Murray went to Mill Hill he had been at Hampton Grammar School with Paul Samwell-Smith (ex-Yardbirds & Cat Stevens' producer) In 1975 Paul Samwell Smith made a record of Murray's songs for Islands Records. The album Say It Ain't So became a cult album in France. His father was Seafield Head, a documentary maker, and is Mother was Helen Shingler, an actress who played Mrs. Maigret alongside Rupert Davies as Maigret in the 60's TV series of the same name. His younger brother is Anthony 'Little Britain' Head. >> A dance remix by the German production team Vinylshakerz was released in 2005. Mike Tyson performs this in the 2011 movie The Hangover 2, which of course takes place mostly in Bangkok. Tyson appears as a surprise wedding guest and takes the stage near the end of the movie.

"Mississippi Queen" is a song by the American rock band Mountain. Considered a rock classic, it was their most successful single, reaching number 21 in the Billboard Hot 100 in 1970. The song is included on the group's debut album and several live recordings have been issued. Drummer Corky Laing explained that he had developed some of the lyrics and the drum part prior to his joining the band. Later, when guitarist Leslie West was looking for lyrics for a guitar part he had written, Laing pulled out "The Queen" and the two worked out the song together; bassist/producer Felix Pappalardi and lyricist David Rea also received songwriting credits. "Mississippi Queen" was recorded during the sessions for Mountain's 1970 debut album Climbing!, but without keyboard player Steve Knight. Pappalardi provided the piano part and during the recording, he insisted on numerous takes. Growing weary, Laing started using the cowbell to count off the song; Pappalardi liked it so much he left it in the mix, creating the song's recognizable intro. Leslie West, explained: "The cowbell in the beginning was just in there because Felix wanted Corky to count the song off. So we used the cowbell to count it off - it wasn't put in there on purpose. And it became the quintessential cowbell song." Mississippi is a special place for Leslie West not only because of this song, but because it's where he had part of his leg amputated. On June 18, 2011, the day after playing a show at the Hard Rock Cafe in Biloxi, West's right leg began to swell and he was taken to the emergency room in a Biloxi hospital, where it was amputated below the knee to save his life (West is diabetic). West told Songfacts: "When I play 'Mississippi Queen' now, I think about Jesus Christ. Of all places to lose my leg, it was Mississippi." West stated in a Guitar Player magazine interview about the gear and production of the song that, “It’s only one guitar track on the rhythm – a [Gibson] Les Paul TV Jr. into a 50-watt Marshall that went into a Sunn 12-inch cabinet." The guitar leads were later overdubbed. "Mississippi Queen" appears at number 10 on a 1995 chronological list of the "50 Heaviest Riffs of All Time" by Guitar magazine editorial staff. Author Scott R. Benarde describes the song as "an enduring anthem" with a "guitar riff that sounded like a carnivore choking on dinner". The song is ranked 230th in The Top 500 Heavy Metal Songs of All Time by biographer Martin Popoff; it also appears at number 10 on the Ultimate Classic Rock 2011 list of the "Top 10 Southern Rock Songs". Spin magazine described it as "the cowbell jam to end all cowbell jams. Mountain are to the cowbell what Dostoevsky is to the Russian novel" in naming it number one on its 2004 list of the "Fifteen Greatest Cowbell Songs of All Time". Ozzy Osbourne recorded "Mississippi Queen" for his 2005 album Under Cover, with a guest appearance by West on guitar. The song reached number 10 on the Billboard Mainstream Rock chart. Leslie West explained how "Mississippi Queen" came together: "When Corky (Laing, drummer) brought me the idea, it was a one-chord dance song. We got real high, took out a napkin, and I came up with the main riff and the chords. Then we fit the words over the sound." Laing says of the song: "I was madly in love with The Band, and I decided to put a 'Cripple Creek' feel behind it. Later on, I told Levon Helm that I felt bad about ripping him off, but he said that he didn't hear any similarity between the two songs, and that we didn't owe them any money!" Corky Laing started working on this song with David Rea, who was a friend of the band and frequent collaborator - he and Mountain bass player Felix Pappalardi were in Ian & Sylvia's band. The only Mississippi city mentioned in the song is Vicksburg, which according to Rea is because that's what he came up with when Laing asked him if he knew any towns in the state. Vicksburg is a small city on the Mississippi River known as the site of a famous Civil War battle in 1863. TV, movie and video game uses of this song include: The title of a episode of the anime series Cowboy Bebop The Simpsons in the 1996 "Homerpalooza" episode The Dukes of Hazzard movie in 2005 Guitar Hero III in 2007 Rock Band in 2007 The Expendables movie in 2010 Regular Show in "Weekend at Benson's," 2012 This was used in a popular commercial for Miller Genuine Draft beer where some guys traveling in a jungle open a bottle of the beer to magically freeze the body of water separating them from some lovely ladies who beckon. This song got a music video for the first time on Aug 27, 2020, when Mountain posted a collage-style animated clip on YouTube. Mississippi Queen Mountain Written by: Leslie A. Weinstein, Felix Pappalardi, David Rea, Laurence Laing Album: Climbing! Released: 1970 Mississippi Queen If you know what I mean Mississippi Queen She taught me everything Way down around Vicksburg Around Louisiana way Lived a Cajun lady, we called her Mississippi Queen You know she was a dancer She moved better on wine While the rest of them dudes were a-gettin' their kicks Buddy, beg your pardon, I was getting mine! Mississippi Queen If you know what I mean Mississippi Queen She taught me everything This lady she asked me, if I would be her man? You know that I told her, I'd do what I can To keep her looking pretty Buy her dresses that shine While the rest of them dudes were making their bread Buddy, beg your pardon, I was losing mine! You know she was a dancer She moved better on wine While the rest of them dudes were a-gettin' their kicks Brother, beg your pardon, now I'm getting mine! Oh, Mississippi Queen

Carolina In My Mind James Taylor Growing up I would hear about “Bull Street.” The South Carolina State Hospital in Columbia dates back to 1821 and was first known as the South Carolina Lunatic Asylum. It was never called the South Carolina Mental Hospital or any other name, it was always just called “Bull Street”. It was always understood by us, at that time, that this is the place where people were sent if they were ‘crazy’. I understood what went on there, do you? In 1822, the corner stone for the South Carolina Lunatic Asylum was laid. It became an asylum of such notoriety that to say you were at “Bull Street” captured the image in the public mind and in Carolina vernacular. Its time came and went with the introduction of antipsychotic and antidepressant drugs and localized mental health service. The building had been designed by the the "famous" architect, Robert Mills. This made South Carolina the second state in the country at that time to put money aside for such a building for the care and treatment of the mentally ill. That one building quickly grew into a ‘mini’ city of its own accord. Men and women were held in separate buildings. Slaves and servants had their own building. During the Civil War, the grounds were used as a prison camp for Union officers until 1865. After the war, things were on a teeter-totter at the asylum. Money was running short and supplies for the patients were hard to obtain. In the 1950’s it held over 5,000 patients! However, the population declined to a more manageable 3,000 by the 1970’s. Guess where mum did her graduate studies and eventual employment throughout much of my later childhood? As the South Carolina State Hospital shrank she moved with my father's law practice to Florence South Carolina and Pee Dee Mental Health Center... William S. Hall Psychiatric Institute (where my mother was trained and I spent time there as she came and went.) opened its doors in 1964, as a result of the dedicated efforts of William S. Hall, M.D., South Carolina's Department of Mental Health's first state commissioner. Legislation in 1965 amended the SC Code of Laws to make a special provision for Hall Institute to be maintained as a teaching hospital for the primary purposes of training mental health personnel and conducting psychiatric research. This hospital was licensed by the state of South Carolina as a Specialized Hospital with a separately-licensed 37 bed Residential Treatment Facility for Children and Adolescents. It provided in-patient psychiatric services, treatment for alcoholism and drug abuse or addiction, and residential treatment for adolescents. Patients are admitted from throughout the state with referrals from community mental health centers, juvenile parole boards, Department of Social Services, the family court system and the Department of Juvenile Justice. The majority of patients are admitted through probate court, family court, or are voluntary admissions. Outpatient services include the Assessment and Resource Center. The facility was located on the property of the former South Carolina State Hospital, it had moved to the campus of the Werber Bryan Psychiatric Hospital.

Swamp Music Lynyrd Skynyrd Based in Charlotte, North Carolina, Duke Energy owns 58,200 megawatts of base-load and peak generation in the United States, which it distributes to its 7.2 million customers. The company has approximately 29,000 employees. Duke Energy's service territory covers 104,000 square miles (270,000 km2) with 250,200 miles (402,700 km) of distribution lines. Almost all of Duke Energy's Midwest generation comes from coal, natural gas, or oil, while half of its Carolinas generation comes from its nuclear power plants. During 2006, Duke Energy generated 148,798,332 megawatt-hours of electrical energy. In December 2022, a winter storm impacted much of the United States. On December 24, 2022, Christmas Eve, Duke Energy implemented rolling blackouts for the first time in their history. The rolling blackouts came without warning and lasted hours. In 2011, Duke Energy worked with Charlotte's business leader community to help build Charlotte into a smart city. The group called the initiative "Envision Charlotte". On July 3, 2012, Duke Energy merged with Progress Energy Inc with the Duke Energy name being retained along with the Charlotte, North Carolina, headquarters. Duke announced on June 18, 2013, that CEO Jim Rogers was retiring and Lynn Good would become the new CEO. Rogers has been CEO and Chairman since 2006, while Good was Chief Financial Officer of Duke since 2009, having joined Duke in the 2006 Cinergy merger. Rogers' retirement was part of an agreement to end an investigation into Duke's Progress Energy acquisition in 2012. In 2016, Duke Energy purchased Piedmont Natural Gas for $4.9 billion to become its wholly owned subsidiary. Duke Energy completed selling its remaining power operations in Central and South America for $1.2 billion months afterwards. At one point Duke Energy had more than 4,300 megawatts of electric generation in Latin America. It operated eight hydroelectric power plants in Brazil with an installed capacity of 2,307 megawatts The company began in 1900 as the Catawba Power Company when Walker Gill Wylie and his brother financed the building of a hydroelectric power station at India Hook Shoals along the Catawba River near India Hook, South Carolina. When he needed additional funding to further his ambitious plan for construction of a series of hydroelectric power plants, Wylie convinced James B. Duke and his partner James Blaney to invest in the Southern Power Company, founded in 1905. In 1917 James Blaney was the founder of the Wateree Power Company that was formed as a holding company for several utilities that had been founded and/or owned by Duke, and Blaney his associates, and in 1924 the name was changed to Duke Power. In 1927, most of the subsidiary companies, including Southern Power Company, Catawba Power Company, Great Falls Power Company, and Western Carolina Power Company were merged into Duke Power, although Southern Public Utilities, 100% owned by Duke Power, maintained a legally separate existence for the retail marketing of Duke-generated power to residential and commercial customers. Southern Public Utilities also operated transit systems, which Duke eventually converted from streetcars to buses. With the purchase of Cinergy Corporation announced in 2005 and completed on April 3, 2006, Duke Energy Corporation's customer base grew to include the Midwestern United States as well. The company operates nuclear power plants, coal-fired plants, conventional hydroelectric plants, natural-gas turbines to handle peak demand, and pumped hydro storage. During 2006, Duke Energy also acquired Chatham, Ontario-based Union Gas, which is regulated under the Ontario Energy Board Act (1998). Duke Energy Carolinas (formerly Duke Power) Duke Energy Ohio (formerly Cincinnati Gas & Electric Company, via Cinergy) Duke Energy Kentucky (formerly Union Light, Heat & Power, via Cinergy) Duke Energy Indiana (formerly Public Service Indiana, via Cinergy) Duke Energy Florida (formerly Florida Power Corporation, via Progress Energy) Duke Energy Progress (formerly Carolina Power and Light, via Progress Energy) Duke Energy Renewables Duke Energy Retail Duke Energy International Duke Energy Sustainable Solutions Duke Energy One Swamp Music Lynyrd Skynyrd Written by: Ronnie Van Zant, Edward C. King Album: Second Helping Released: 1974 Going down to the swamp Gonna watch me a hound dog catch a 'coon Well, I'm going down to the swamp Gonna watch me a hound dog catch a 'coon You know the hounddog make-a music On a summer night under a full moon Lord, fetch my cane pole mama Gonna catch a brim or maybe two Lord, fetch my cane pole mama Gonna catch a brim or maybe two And when the hound dog start barkin' Sounds like ol' son house singin' the blues Hound dog sing that Swamp, swamp, swamp, swamp music Swamp, swamp, swamp, swamp music When the hound dog starts singin' I ain't got them big ol' city blues Well, hey pretty mama Lord, just take that city hike Said go ahead pretty mama Lord, just take your city hike Well, I'd rather live with the hound dogs For the rest of my natural born life That's right Singing that Swamp, swamp, swamp, swamp music Swamp, swamp, swamp, swamp music Well, I'd rather live with the hound dogs For the rest of my natural born life Well, I'd wanna live with the hound dogs For the rest of my natural born life

"99 Luftballons" (Neunundneunzig Luftballons, "99 balloons") is a song by the German band Nena from their 1983 self-titled album. An English-language version titled "99 Red Balloons", with lyrics by Kevin McAlea, was also released on the album 99 Luftballons in 1984 after widespread success of the original in Europe and Japan. The English version is not a direct translation of the German original and contains lyrics with a somewhat different meaning. In the US, the English-language version did not chart, while the German-language recording became Nena's only US hit. While at a June 1982 concert by the Rolling Stones in West Berlin, Nena's guitarist Carlo Karges noticed that balloons were being released. As he watched them move toward the horizon, he noticed them shifting and changing shapes, where they looked like strange spacecraft (referred to in the German lyrics as a "UFO"). He thought about what might happen if they floated over the Berlin Wall to the Soviet sector. Also cited by the band was a newspaper article from the Las Vegas Review-Journal about five local high school students in 1973 who played a prank to simulate a UFO by launching 99 (one was lost from the original 100) aluminized Mylar balloons attached with ribbons to a traffic flare. The red flame from the flare reflected by the balloons gave the appearance of a large pulsating red object floating over Red Rock Canyon outside the Las Vegas Valley in Nevada. A direct translation of the title is sometimes given as "Ninety-Nine Air Balloons", but the song became known in English as "Ninety-Nine Red Balloons". The title "99 Red Balloons" almost scans correctly with the syllables falling in the right places within the rhythm of the first line of lyrics, although Neunundneunzig (99) has one syllable more than "ninety-nine". The lyrics of the original German version tell a story: 99 balloons are mistaken for UFOs, causing a military general officer to send pilots to investigate. Finding nothing but balloons, the pilots put on a large show of fire power. The display of force worries the nations along the borders and the war ministers on each side encourage conflict to grab power for themselves. In the end, a cataclysmic war results from the otherwise harmless flight of balloons and causes devastation on all sides without a victor, as indicated in the denouement of the song: "99 Jahre Krieg ließen keinen Platz für Sieger," which means "99 years of war left no room for victors." The anti-war song finishes with the singer walking through the devastated ruins of the world and finding a single balloon. The description of what happens in the final line of the piece is the same in German and English: "'Denk' an dich und lass' ihn fliegen," or "Think of you and let it go." From the outset Nena and other members of the band expressed disapproval of the English version of the song, "99 Red Balloons". In March 1984, the band's keyboardist and song co-writer Uwe Fahrenkrog Petersen said, "We made a mistake there. I think the song loses something in translation and even sounds silly." In another interview that month, the band, including Nena herself, were quoted as being "not completely satisfied" with the English version since it was "too blatant" for a group not wishing to be seen as a protest band. Two re-recordings of the original German version of the song have been released by Nena: a modern ballad version, which was included on Nena feat. Nena (2002), and a 2009 retro version, which originally aired as an animated video on the European Arte channel (as part of a special called "Summer of the '80s") and included some portions in French (specifically, the second part of the first verse and the entire final verse). Nena later formally released this rendition on her 2010 Best of Nena compilation; however the French text was omitted and replaced with the original German lyrics. Live recordings of the song are included on all seven of Nena's live albums, dating from 1995 to 2018. The promotional video, which was originally made for the Dutch music programme TopPop and broadcast on 13 March 1983, was shot in a Dutch military training camp, the band performing the song on a stage in front of a backdrop of fires and explosions provided by the Dutch Army. Towards the end of the video, the band are seen taking cover and abandoning the stage, which was unplanned and genuine since they believed the explosive blasts were getting out of control. VH1 Classic, an American cable television station, ran a charity event for Hurricane Katrina relief in 2006. Viewers who made donations were allowed to choose which music videos the station would play. One viewer donated $35,000 for the right to program an entire hour and requested continuous play of "99 Luftballons" and "99 Red Balloons" videos. The station broadcast the videos as requested from 2:00 to 3:00 p.m. EST on 26 March 2006.

Ophelia is a character in William Shakespeare's drama Hamlet (1599–1601). She is a young noblewoman of Denmark, the daughter of Polonius, sister of Laertes and potential wife of Prince Hamlet, who, due to Hamlet's actions, ends up in a state of madness that ultimately leads to her drowning. Along with Queen Gertrude, Ophelia is one of only two female characters in the original play. Like most characters in Hamlet, Ophelia's name is not Danish. It first appeared in Jacopo Sannazaro's 1504 poem Arcadia (as Ofelia) Ophelia was very obedient to her father, and well-loved by many characters. She was very sweet to everyone and had an innocent personality. However, she was very compliant and did everything her father asked of her. When he told her to stop seeing Hamlet, she did so. And when he told her to set up a meeting so that Polonius and Claudius could spy on him, she did so. Ophelia was a foil to Hamlet and Laertes, contrasting and inspiring their behavior. Ophelia often appears in various cultural contexts, including literature, music, film and television. A moon of Uranus is named after Ophelia. Robert Schumann in 'Herzeleid' from 'Sechs Gesänge' (opus 107 nr 1; 1852) puts the poem of Titus Ullrich to music, which is dedicated to the figure of Ophelia, ending with her name sung twice. A foreboding image of Kirsten Dunst in the opening of "Melancholia" (2011) suggests Ophelia. "Ophelia" is a song written by Robbie Robertson that was first released by The Band on their 1975 album Northern Lights – Southern Cross. It was the lead single from the album. It has also appeared on several of the group's live and compilation albums, and has been covered by such artists as Vince Gill and My Morning Jacket. My Morning Jacket covered "Ophelia" on the 2013 tribute album Love for Levon. Vince Gill covered the song on the soundtrack to the 1994 film Maverick. ALO also recorded a version for the bonus disc to the 2007 tribute album Endless Highway: The Music of The Band. "Ophelia" was one of the songs performed during the first (and so far only) live performance by Dr. Teeth and The Electric Mayhem at the Outside Lands Festival in 2016. "Ophelia" was also recorded by Texas singer/songwriter Randy Brown and released on his 2007 album Hard Face to Face. "Ophelia" is featured on The Gibson Brothers (bluegrass duo)’ 2006 album Long Way Back Home. Widespread Panic covers the song regularly. Rick Danko – bass guitar Levon Helm – lead vocals, drums Garth Hudson – Lowrey organ, synthesizer, brass, woodwinds Richard Manuel – Hammond organ, backing vocals Robbie Robertson – electric guitar Ophelia The Band Written by: Robbie Robertson Album: Northern Lights – Southern Cross 1975 Boards on the window, mail by the door What would anybody leave so quickly for? Ophelia Mmm, where have you gone? The old neighborhood just ain't the same Nobody knows just what it became Ophelia Tell me, what went wrong Was it something that somebody said? Mama, I know we broke the rule Was somebody up against the law? Honey, you know I'd die for you Ashes of laughter, the coast is clear Why do the best things always disappear? Like Ophelia Please, knock on my door Was it something that somebody said? Honey, you know we broke the rules Was somebody up against the law? Honey, you know I'd die for you They got your number, scared and runnin' But I'm still waiting for the second coming Of Ophelia Mmm-hmm, come back home Mmm-hmm

L.A. Woman is the sixth studio album by the American rock band the Doors, released on April 19, 1971, by Elektra Records. It is the last to feature lead singer Jim Morrison during his lifetime, due to his sudden death exactly two months and two weeks following the album's release. Even more so than its predecessors, the album is heavily influenced by blues. It was recorded without record producer Paul A. Rothchild after he quit the band over a perceived lack of quality in their studio performances. Subsequently, the band co-produced the album with longtime sound engineer Bruce Botnick. Critics including Richie Unterberger and David Quantick have called L.A. Woman one of the Doors' best albums, citing Morrison's vocal performance and the band's stripped-down return to their blues-rock roots. The Doors had achieved commercial and critical success by 1969, but for much of that year they were blacklisted from radio playlists and their concert bookings dwindled after singer Jim Morrison had been charged with profanity and indecent exposure at a concert in Miami, Florida. Morrison had mentioned leaving the group at the end of 1968, only to be convinced by keyboardist Ray Manzarek to stay on another six months. On September 20, 1970, Morrison was convicted for the Miami incident. In a 1971 interview with Ben Fong-Torres, Morrison said of Miami, "I think subconsciously I was trying to get across in that concert, I was trying to reduce it to absurdity. And it worked too well." Record producer Paul A. Rothchild, who worked with the band on their first five albums, attended the early sessions but quit following friction with the band. This included his dissatisfaction with the song "Love Her Madly", which "drove [him] out of the studio." He felt that recording the composition was a step backwards artistically, calling it "cocktail music." Rothchild has denied a popular rumor that claimed he directed the remark toward "Riders on the Storm", explaining that he thought that song and "L.A. Woman" were "excellent in rehearsal". He maintains that his cocktail music comment was said to "make [the group] angry enough to do something good." Rothchild was frustrated that the group was slow in developing new material, especially as the band contained three songwriters. He was unable to persuade Morrison to consistently attend rehearsals. As Bruce Botnick revealed in the book Love Becomes a Funeral Pyre, another issue that led to Rothchild's leaving was the emotional devastation he felt at the death of Janis Joplin, having worked with her on Pearl. Rothchild left before any master takes were complete, recommending that the Doors co-produce L.A. Woman with Botnick, the sound engineer who had worked with Rothchild on the band's previous recordings. The group and Botnick organized a makeshift recording studio at their private rehearsal space, the Doors' Workshop, a two-story building at 8512 Santa Monica Boulevard. They could then record in a more comfortable and relaxed setting while avoiding the expenses of a professional studio. A mixing console previously owned by Elektra was installed upstairs in the Workshop, while studio monitors, microphones, and keyboards were set up downstairs. To compensate for the lack of an isolated vocal booth, Morrison recorded in the bathroom doorway, singing into the same microphone used on the Doors' final tour. According to Botnick, Morrison was easy to work with and spent long hours in the studio with little consumption of alcohol. For recording, Elvis Presley's bassist Jerry Scheff and rhythm guitarist Marc Benno were brought in to provide additional backing. Densmore characterized Scheff as "an in-the-pocket man" for his steady supportive role, and praised how Scheff "allowed me to communicate rhythmically with Morrison, and he slowed Ray down, when his right hand on the keyboards got too darn fast". By all accounts, Morrison – a huge Presley fan – was excited by Scheff's participation. In addition, Benno was asked to participate as a result of his recent notoriety from working with Leon Russell. The songs were completed in a few takes on a professional-quality 8-track recorder, and the album was finished in six days. Mixing was completed at Poppi studios in West Hollywood, by which time Morrison had moved to Paris, France. The band began recording without much material and needed to compose songs on the spot, either by jamming or talking through ideas. In a 1994 interview, guitarist Robby Krieger stated, "Rothchild was gone, which is one reason why we had so much fun. The warden was gone." Despite its troubled beginnings, L.A. Woman contains some of the Doors' most critically acclaimed songs, as well as some of their most blues-oriented. Three months after release, on July 3, Morrison was found dead. There had been discussions between Morrison and the others for future recording after he returned from Paris.

"Rusty Cage" was covered by Johnny Cash on the 1996 album, Unchained, which won a Grammy Award for Best Country Album, and Cash's version earned him a Grammy nomination for Best Male Country Vocal Performance. During at least three live performances by Soundgarden (July 21, 1996, in Knoxville, Tennessee, at Forks In The River, early November 1996 at the Aragon Ballroom in Chicago, Illinois, and at Soundgarden's last pre-breakup show at the Blaisdell Arena, Honolulu, Hawaii, on February 9, 1997), Cornell introduced the song with a dedication to Cash. On Cornell's Higher Truth acoustic tour in late 2015, he started including "Rusty Cage" in the set-list, employing Cash's country-rock arrangement of the song. Rusty Cage Johnny Cash Written by: Chris Cornell Album: Unchained Released: 1996 You wired me awake And hit me with a hand of broken nails You tied my lead and pulled my chain To watch my blood begin to boil But I'm gonna break I'm gonna break my Gonna break my rusty cage and run I'm gonna break I'm gonna break my Gonna break my rusty cage and run Too cold to start a fire I'm burning diesel, burning dinosaur bones I'll take the river down to Stillwater And ride a pack of dogs I'm gonna break I'm gonna break my Gonna break my rusty cage and run I'm gonna break I'm gonna break my Gonna break my rusty cage and run When the forest burns along the road Like God's eyes in my headlights When the dogs are looking for their bones And it's raining icepicks on your steel shore I'm gonna break I'm gonna break my I'm gonna break my rusty cage and run I'm gonna break I'm gonna break my Gonna break my rusty cage and run I'm gonna break I'm gonna break my Gonna break my rusty cage and run I'm gonna break I'm gonna break my Gonna break my rusty cage and run Gerald Brom (born March 9, 1965), known professionally as Brom, is an American gothic fantasy artist and illustrator, known for his work in role-playing games, novels, and comics. Brom was born March 9, 1965, in Albany, Georgia. As the son of a U.S. Army pilot he spent much of his early years on the move, living in other countries such as Japan and Germany (he graduated from Frankfurt American High School), and in U.S. states including Alabama and Hawaii. Brought up as a military dependent he was known by his last name only, and now signs his name as simply Brom: "I get that asked more than just about any other question. It's my real name, my last name. I got called Brom all the time as a kid, and it just stuck." Brom has been drawing and painting since childhood, although he had never taken any formal art classes. "I wouldn't exactly call myself self-taught, because I've always looked at the work of other artists and emulated what I liked about it. So you can say they taught me." Brom cites the work of Frank Frazetta, N.C. Wyeth, and Norman Rockwell as influences on his style: "Okay... Rockwell isn't the kind of inspiration most people expect from me, but he just painted things so well. To me it's not so much the genre but the way it's done, and you have to admire his technique." At the age of 20, Brom started working full-time as a commercial illustrator. By age twenty-one, he had two national art representatives, and was doing work for such clients as Coca-Cola, IBM, CNN, and Columbia Pictures. TSR, Inc. hired Brom on full-time in 1989 at the age of 24. Brom contributed to all of TSR's game and book lines, particularly the Dark Sun setting: "I pretty much designed the look and feel of the Dark Sun campaign. I was doing paintings before they were even writing about the setting. I'd do a painting or a sketch, and the designers wrote those characters and ideas into the story. I was very involved in the development process. I've been fortunate to be involved in the development end of a lot of projects I've worked on, from role-playing games to computer games." According to Shannon Appelcline, Brom "contributed the unique illustrations for Dark Sun that helped to set it apart from the other TSR games with their more typical fantasy drawings".  His paintings have been published in collectible card games such as Wizards of the Coast's Magic: The Gathering and Last Unicorn Games' Heresy: Kingdom Come. Brom's paintings, along with Frank Frazetta's, were used in the development of the visual look of the game series Warlords. In 1993, after four years at TSR, Brom returned to the freelance market, still specializing in the darker side of the roleplaying game, card game, and comic book genres. Shane Lacy Hensley came up with the idea for the game Deadlands after he saw Brom's cover to Necropolis: Atlanta from White Wolf, and got Brom to do the cover for the initial release.: 325  His artwork also appeared on book covers from authors such as Michael Moorcock, Anne McCaffrey, and Terry Brooks. Brom contributed conceptual work to computer games such as Heretic II, and several top creature houses for films such as Stan Winston Studios; he also co-created, art directed, and illustrated the Dark Age collectible card game. He has since worked as a movie concept artist, and created illustrations for comics (by DC, Chaos, Dark Horse) and computer games (for id Software, Blizzard, Sega and Activision). Brom has also been active with a line of Brom fetish toys from Fewture and a series of bronzes from the Franklin Mint and paintings for novels (by Michael Moorcock, Terry Brooks, R.A. Salvatore, Edgar Rice Burroughs). Brom returned to TSR in 1998, doing paintings for the Alternity game, the AD&D role-playing game and its Forgotten Realms and Planescape lines, and covers for Dragon and Dungeon magazines. His work is included in the book Masters of Dragonlance Art. He has also returned to painting for book covers for TSR's successor Wizards of the Coast, including the covers for the War of the Spider Queen series and reprints of The Avatar Series. In 2019, he entered the Origins Award Hall of Fame.

Hurt Johnny Cash In 2002, Johnny Cash covered the song Hurt for his album, American IV: The Man Comes Around. Its accompanying video, featuring images from Cash's life and directed by Mark Romanek, was named the best video of the year by the Grammy Awards and CMA Awards, and the best video of all time by NME in July 2011. The single contains a cover of Depeche Mode's "Personal Jesus" as a B-side. Cash's cover of the song had sold 2,148,000 downloads in the United States as of March 2017. Cash's cover is widely considered one of his best works. In 2017, Billboard ranked the song number four on their list of the 15 greatest Johnny Cash songs, and in 2021, American Songwriter ranked the song number three on their list of the 10 greatest Johnny Cash songs. When Reznor was asked if Cash could cover his song, Reznor said he was "flattered" but worried that "the idea sounded a bit gimmicky." He became a fan of Cash's version, however, once he saw the music video. A few weeks later, a CD shows up with the track. Again, I'm in the middle of something and put it on and give it a cursory listen. It sounded... weird to me. That song in particular was straight from my soul, and it felt very strange hearing the highly identifiable voice of Johnny Cash singing it. It was a good version, and I certainly wasn't cringing or anything, but it felt like I was watching my girlfriend fuck somebody else. Or something like that. Anyway, a few weeks later, a videotape shows up with Mark Romanek's video on it. It's morning; I'm in the studio in New Orleans working on Zack De La Rocha's record with him; I pop the video in, and... wow. Tears welling, silence, goose-bumps... Wow. I just lost my girlfriend, because that song isn't mine any more. Then it all made sense to me. It really made me think about how powerful music is as a medium and art form. I wrote some words and music in my bedroom as a way of staying sane, about a bleak and desperate place I was in, totally isolated and alone. Some-fucking-how that winds up reinterpreted by a music legend from a radically different era/genre and still retains sincerity and meaning – different, but every bit as pure. Things felt even stranger when he passed away. The song's purpose shifted again. It's incredibly flattering as a writer to have your song chosen by someone who's a great writer and a great artist. — Geoff Rickly interviews Trent Reznor, Alternative Press Mike Campbell (acoustic guitar) and Benmont Tench (piano, organ, mellotron) of Tom Petty and the Heartbreakers played on the track. Smokey Hormel also played guitar on the track. The music video was directed by former Nine Inch Nails collaborator Mark Romanek, who sought to capture the essence of Cash, both in his youth and in his older years. In a montage of shots of Cash's early years, twisted imagery of fruit and flowers in various states of decay, seem to capture both his legendary past and the stark and seemingly cruel reality of the present. Much of the video is in a style deliberately reminiscent of vanitas paintings, thus emphasizing the lyrics' mood of the futility and passing nature of human achievements. According to literature professor Leigh H. Edwards, the music video portrays "Cash's own paradoxical themes". Romanek had this to say about his decision to focus on the House of Cash museum in Nashville: It had been closed for a long time; the place was in such a state of dereliction. That's when I got the idea that maybe we could be extremely candid about the state of Johnny's health, as candid as Johnny has always been in his songs. When the video was filmed in February 2003, Cash was 71 years old and had serious health problems. His frailty is clearly evident in the video. He died seven months later, on September 12; his wife, June Carter Cash, who is shown gazing at her husband in two sequences of the video, had died on May 15 of the same year. In July 2011, the music video was named one of "The 30 All-TIME Best Music Videos" by Time. It was ranked the greatest music video of all time by NME. The house where Cash's music video for "Hurt" was shot, which was Cash's home for nearly 30 years, was destroyed in a fire on April 10, 2007. Hurt Johnny Cash Written by: אולמנסקי עדי, Reznor, Michael Trent Album: American IV: The Man Comes Around Released: 2002

"God's Gonna Cut You Down" (also known as "God Almighty's Gonna Cut You Down", "God's Gonna Cut 'Em Down", "Run On" and "Sermon") is a traditional American folk song. It was first recorded by the Golden Gate Quartet in 1946 and first issued in 1947 by the Jubalaires. Since then, the track has been recorded in a variety of genres, including country, folk, alternative rock, electronic and black metal.[3] The lyrics warn evildoers that they cannot avoid God's eventual judgment. As "God's Gonna Cut You Down", it was performed by Odetta on Odetta Sings Ballads and Blues (1956), and Johnny Cash on the posthumously released American V: A Hundred Highways (2006). Marilyn Manson also used this title for a non-album single in 2019. As "Run On", it has been recorded by Elvis Presley and Tom Jones, and the Blind Boys of Alabama. The song has been covered by many other artists. Johnny Cash recorded a version of "God's Gonna Cut You Down" on American V: A Hundred Highways in 2003, with an arrangement quite different from most known gospel versions of the song. As of January 2016, this version of the song sold 672,000 copies in the United States. A music video, directed by Tony Kaye, was made for this version in late 2006, three years after Cash's death. The video was shot entirely in black and white and features a number of celebrities: David Allan Coe, Patricia Arquette, Travis Barker, Peter Blake, Bono, Sheryl Crow, Johnny Depp, the Dixie Chicks (now known as The Chicks), Flea, Billy Gibbons, Whoopi Goldberg, Woody Harrelson, Dennis Hopper, Terrence Howard, Jay-Z, Mick Jones, Kid Rock, Anthony Kiedis, Kris Kristofferson, Amy Lee, Tommy Lee, Adam Levine, Shelby Lynne, Chris Martin, Kate Moss, Graham Nash, Iggy Pop, Lisa Marie Presley, Q-Tip, Corinne Bailey Rae, Keith Richards, Chris Rock, Rick Rubin, Patti Smith, Sharon Stone, Justin Timberlake, Kanye West, Brian Wilson, and Owen Wilson. This version has appeared in the Fox series Gotham, during the episode titled "What the Little Bird Told Him". It also featured in the season three episode of NBC series The Blacklist, "The Director: Conclusion", and in the CBC series Republic of Doyle, where it closed episode 10 of season 2, "The Special Detective". The song was first recorded by Golden Gate Quartet on June 5, 1946, under the title "God's Gonna Cut You Down", and first released later that year by The Jubalaires, under the title "God Almighty's Gonna Cut You Down". American singer and civil rights activist Odetta recorded the song as "God's Gonna Cut You Down" in the style of a 19th-century revival meeting preaching hymn, for her 1957 album Odetta Sings Ballads and Blues. Bobbie Gentry issued a version of the song, under the title "Sermon", on her 1968 album The Delta Sweete. The vocals of the Bill Landford version were sampled by American electronica musician Moby for "Run On", a single from his fifth studio album Play in 1999. The Blind Boys Of Alabama recorded a version in 2001 for Spirit Of The Century. Tom Jones recorded "Run On" for his 2010 album Praise & Blame. Mercury Rev re-recorded Gentry's The Delta Sweete album in 2019; their version of "Sermon" featured vocals by Margo Price. God's Gonna Cut You Down Johnny Cash Written by: John R Cash You can run on for a long time Run on for a long time Run on for a long time Sooner or later God'll cut you down Sooner or later God'll cut you down Go tell that long tongue liar Go and tell that midnight rider Tell the rambler, the gambler, the back biter Tell 'em that God's gonna cut 'em down Tell 'em that God's gonna cut 'em down Well, my goodness gracious, let me tell you the news My head's been wet with the midnight dew I've been down on bended knee Talkin' to the Man from Galilee He spoke to me in the voice so sweet I thought I heard the shuffle of angel's feet He called my name and my heart stood still When he said, "Johnny, go do My will!" Go tell that long tongue liar Go and tell that midnight rider Tell the rambler, the gambler, the back biter Tell 'em that God's gonna cut 'em down Tell 'em that God's gonna cut 'em down You can run on for a long time Run on for a long time Run on for a long time Sooner or later God'll cut you down Sooner or later God'll cut you down Well, you may throw your rock, hide your hand Workin' in the dark against your fellow man But as sure as God made black and white What's down in the dark will be brought to the light You can run on for a long time Run on for a long time Run on for a long time Sooner or later God'll cut you down Sooner or later God'll cut you down Go tell that long tongue liar Go and tell that midnight rider Tell the rambler, the gambler, the back biter Tell 'em that God's gonna cut you down Tell 'em that God's gonna cut you down Tell 'em that God's gonna cut you down

"Grapefruit—Juicy Fruit" is a song written and performed by American singer-songwriter Jimmy Buffett. It was first released on his 1973 album A White Sport Coat and a Pink Crustacean and was his third single from that album. The single reached No. 23 on the Billboard Easy Listening chart in September 1973. The song appears on Songs You Know By Heart, a greatest hits compilation that includes Buffett's concert favorites ranging from 1973 to 1979. It is played very frequently in concert, but is not a concert staple. Buffett wrote the song in Key West, Florida at a time when he would play in a bar called Howie's Lounge in the afternoon and work on a fishing boat at night. He would meet young tourist girls riding the Conch Tour Train and take them to the Islander drive-in theater. They would have some purple passion mixed up in a jug, and if mixed correctly the dates would claim they couldn't taste any alcohol, to which Buffett would reply, "That's the point." On the live album You Had to Be There, Buffett mentions that one of the movies he took a date to see was Payday. In "The Parrot Head Handbook," which accompanies the box set Boats, Beaches, Bars & Ballads, Buffett says of the origin of the song: "The place was the Islander Drive-In theatre, and the movie was Payday starring Rip Torn. The girl was from St. Petersburg, Florida, and she was running away from a bad boyfriend. The popcorn was salty, and the beer was cold." Grapefruit A bathing suit Chew a little juicy-fruit Wash away the night Drive-in Guzzle gin Commit a little mortal sin It's good for the soul And oh, it gets so damn lonely When you're on the plane all alone And if I had the money, Honey I'd strap you in beside me And never ever leave you Leave you at home all alone and crying Ten speed No need My pick-up gets me where I please Chuggin' down the street But I'll be leavin' In a little while So close your eyes and I'll I'll be back real soon Yes and if I had the money, Honey I'd strap you in beside me (into strapless) And never ever leave you Leave you at home all alone and crying Grapefruit A bathing suit Chew a little juicy-fruit Wash away the night Yeah, you chew a little juicy-fruit It's good for your soul

artist website https://www.benitezproductions.com/ The Lady Mechanika, a comic series in the steampunk genre, was originally planned as a six-part story. Aspen MLT agreed to produce the serial and began publishing them on an infrequent basis. The first issue of Lady Mechanika, issue #0, debuted and sold out in October, 2010. The third issue was scheduled for release December 21, 2011. At the Steamcon III convention, held October 2011 in Bellevue, Washington, Joe Benitez won the Airship Award in the Visual category for his work on the comic. "Lost in America" is a single by musician Alice Cooper, who co-wrote the song with Bud Saylor and Icon guitarist Dan Wexler, taken from his 1994 album The Last Temptation. It was the most popular single from the album. “Lost in America” has been a live staple since its release, and is the solitary song from The Last Temptation that Cooper has performed live from 2000 onwards. The single featured a B-side, a live version of "Hey Stoopid". Alice Cooper - vocals Stef Burns - guitar, background vocals Greg Smith - bass, background vocals Derek Sherinian - keyboards, background vocals Ricky Parent - drums Dan Wexler - additional guitar Lost in America Alice Cooper Written by: Dan Wexler, Miranda Cooper, Bud Saylor Album: The Last Temptation Released: 1994 I can't get a girl 'Cause I ain't got a car I can't get a car 'Cause I ain't got a job I can't get a job 'Cause I ain't got a car So I'm looking for a girl with a job and a car Don't you know where you are Lost in America Lost in America Lost in America, lost I got a mom but I ain't got a dad My dad's got a wife but she ain't my mom Mom's looking for a man to be my dad But I want my mom and dad to be my real Mom and dad Is that so bad? Oh, I think I've been had Lost in America Lost in America Lost in America, lost Lost in America Lost in America Lost in America, lost Well, I live at the 7-11 Well, I'm tryin' to play this guitar Well, I'm learning "Stairway to Heaven" 'Cause Heaven's where you are I can't go to school 'Cause I ain't got a gun I ain't got a gun 'Cause I ain't got a job I ain't got a job 'Cause I can't go to school So I'm looking for a girl with a gun and a job And a house with cable! Don't you know where you are Lost in America Lost in America Lost in America, lost Lost in America Lost in America Lost in America, lost Oh, I'm Lost.

"Boris the Spider" is a song written by the Who's bass guitarist, John Entwistle. It appears as the second track of their 1966 album A Quick One. This song is claimed to be Entwistle's first composition, and became a staple of live shows. This song, along with "My Wife", "Heaven and Hell" and "The Quiet One", were Entwistle's most popular songs to perform live. Though this song was popular, it was not released as a single in the US and the UK. In Japan, "Boris the Spider" was released as the B-side to "Whiskey Man" in 1967. "Boris the Spider" was written after Entwistle had been out drinking with the Rolling Stones' bass guitarist, Bill Wyman. They were making up funny names for animals when Entwistle came up with "Boris the Spider". The song was written by Entwistle in six minutes and, according to Entwistle in a 1971 interview for Crawdaddy, is considered a horror song. The chorus of "Boris the Spider" was sung in basso profundo by Entwistle, mimicking a popular Spike Milligan character, Throat, from The Goon Show, with a middle eight of "creepy crawly" sung in falsetto. These discordant passages and the black comedy of the theme made the song a stage favourite. According to Pete Townshend in his song-by-song review of Meaty Beaty Big and Bouncy for Rolling Stone, it was Jimi Hendrix's favourite Who song. To commemorate the launch of the BBC's Radio One in 1967, the Who created a brief jingle for the station featuring Entwistle singing "Radio One" to the central riff. This recording was eventually released on the 1995 and 2009 reissues of The Who Sell Out (immediately after their cover of "In the Hall of the Mountain King"), and at the end of their BBC Sessions disc. They created similar jingles to the tune of "My Generation" and "Happy Jack" (available on BBC Sessions and Thirty Years of Maximum R&B, respectively). "My Size", the opening track of Entwistle's 1971 solo album Smash Your Head Against the Wall, is a sequel to "Boris the Spider."[6] The closing riff of the song is the same as the one heard throughout "Boris the Spider." Regarding this, Entwistle stated: "I wrote it as a sequel to Boris the Spider for our manager. Our manager wanted me to put Boris the Spider on my album. So I wrote My Size and I wrote it in a sort of code so it sounds as if it were being sung about a woman. Then I stuck the ending on it as a clue. It wasn't a very good clue, I suppose." Roger Daltrey – backing vocals John Entwistle – lead vocals, bass Pete Townshend – backing vocals, guitar Keith Moon – drums Boris the Spider The Who Written by: John Entwistle Album: A Quick One (Bonus Track Version) Released: 1966 Look, he's crawling up my wall Black and hairy, very small Now he's up above my head Hanging by a little thread Boris the spider Boris the spider Now he's dropped on to the floor Heading for the bedroom door Maybe he's as scared as me Where's he gone now, I can't see Boris the spider Boris the spider Creepy, crawly Creepy, crawly Creepy, creepy, crawly, crawly Creepy, creepy, crawly, crawly Creepy, creepy, crawly, crawly Creepy, creepy, crawly, crawly There he is wrapped in a ball Doesn't seem to move at all Perhaps he's dead, I'll just make sure Pick this book up off the floor Boris the spider Boris the spider Creepy, crawly Creepy, crawly Creepy, creepy, crawly, crawly Creepy, creepy, crawly, crawly Creepy, creepy, crawly, crawly Creepy, creepy, crawly, crawly He's come to a sticky end Don't think he will ever mend Never more will he crawl 'round He's embedded in the ground Boris the spider Boris the spider

Gone Daddy Gone Violent Femmes "Gone Daddy Gone" is a song written by Gordon Gano and originally recorded by his group Violent Femmes as the first single for their first album, Violent Femmes. The lyrics use a complete verse from Willie Dixon's 1954 song "I Just Want to Make Love to You", originally recorded by Muddy Waters. For this reason, the song is occasionally referred to as "Gone Daddy Gone/I Just Want to Make Love to You", as on Permanent Record: The Very Best of Violent Femmes. It has two xylophone solos. A cover version of the song was the third single released in the United States by the American soul duo, Gnarls Barkley, and is taken from their first album St. Elsewhere (2006). An animated music video was also made. The cover version was used in a 2008 commercial for the movie Igor, in the TV series Entourage and Chuck, in the 2006 game Tony Hawk's Project 8 and in the 2007 game Forza Motorsport 2. Personnel Gordon Gano - guitar, lead vocal Brian Ritchie - xylophone, electric bass guitar Victor DeLorenzo - snare drum and tranceaphone, Scotch marching bass drum, vocals Written by: Gordon James Gano, Willie Lee Dixon Album: Violent Femmes Released: 1983 Gone Daddy Gone Violent Femmes Beautiful girl, lovely dress. High school smiles, oh yes. Beautiful girl, lovely dress. Where she is now I can only guess, 'Cause it's gone, daddy, gone, Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone away. When I see you, eyes will turn blue. When I see you, thousand eyes turnin' blue, 'Cause it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone away. Tell by the way you that you switch and walk, I can see by the way that you baby-talk, I can know by the way you treat your man, I can love you, baby, 'til it's a-cryin... 'Cause it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone away. Beautiful girl, lovely dress. Fifteen smiles, oh, yes. Beautiful girl, lovely dress, Where she is now, I can only guess 'Cause it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone. Yeah, it's gone, daddy, gone Your love is gone away Gone away Gone away Gone away

Today's Crop Dusting 07122023

The Science of Things is the third studio album by British band Bush, released on 26 October 1999, through Trauma Records. It is the last Bush album released through Trauma and features many electronic music influences. The album peaked at number eleven on the US Billboard 200 and has been certified platinum by the RIAA. In 1998, Gavin Rossdale retreated to a countryside house in Ireland to write demos for a new Bush album. The album was recorded over a span of 4 weeks, at a variety of locations including lead guitarist Nigel Pulsford's home and Mayfair Studios in London. The album's musical direction of integrating electronic elements into a rock sound was, according to drummer Robin Goodridge, was influenced by Deconstructed, a 1997 remix album of Bush's music. Rossdale stated in 1999 that The Science of Things was so-named because the phrase was "a mixture of the specific, science, and the non-specific, things", a combination that Rossdale felt was "personal, and somehow intimate". Following completion towards the end of 1998, the release of The Science of Things was delayed after the band were met with a US$40 million lawsuit from their label Trauma Records, claiming "breach of contract and nondelivery of the album". A settlement between Bush and Trauma was agreed in June 1999. Gil Kaufman of MTV News commented in October 1999 that The Science of Things was forged around "a vaguely science-fiction" narrative, as well as reflecting what he proclaimed to be Rossdale's "lyrical fascination with doomed relationships and the decay of modern society". "Spacetravel" was written reflecting Rossdale's feeling of detachment from being in Ireland during Tony Blair's earliest months as Prime Minister of The UK, while "Dead Meat" related to the abusive death of Canadian model Dorothy Stratten in 1980. "Disease of the Dancing Cats" was environmentally-themed; Rossdale stated in 1999 that the song was written about Minamata disease from mercury poisoning. Jesus Online released on 26 October 1999 Bush Written by: Gavin Rossdale Album: The Science of things Whatever she wants from me Whatever device Whether in kindness Whether in spite What can I say What can I do I can't help myself I let the monster through Wherever she sends me Wherever the plane Perfect black dress Perfect grave What can I say What can I do I did it to myself I did it all confused Jesus online Wires around the world Feel invincible Computer car and girl Jesus online Wires around the world Feel invincible To be perfect just like you To be perfect just like you Whenever she comes with me Whenever we break Dress up my apathy Pretend we're great, great, great Jesus online Wires around the world Feel invincible Computer car and girl Jesus online Jesus online Jesus, Jesus Jesus Jesus online Arms around the world Feel invincible To be perfect just like you To be perfect just like you Jesus, Jesus online Jesus To be perfect just like you To be perfect just like you To be perfect just like you To be perfect just like you To be perfect just like you To be perfect just like you To be perfect just like you

Some Girls is the 14th British and 16th American studio album by English rock band the Rolling Stones, released on 9 June 1978 by Rolling Stones Records. It was recorded in sessions held from October 1977 to February 1978 at Pathé Marconi Studios in Paris and produced by the band's chief songwriters – lead vocalist Mick Jagger and guitarist Keith Richards – with Chris Kimsey engineering the recording. By 1976, the Rolling Stones' popularity was in decline as the music industry was dominated by disco and newer rock bands. In addition, the punk rock movement was an emerging cultural force in the UK. Due to legal troubles surrounding Richards, Jagger is generally regarded as the principal creative force behind Some Girls. With him drawing influence from dance music, most notably disco, the recording sessions were highly productive, resulting in numerous outtakes that appeared on subsequent albums. It was the first album to feature guitarist Ronnie Wood as a full-time member; Wood had contributed to some tracks on the band's prior two albums, It's Only Rock 'n Roll (1974) and Black and Blue (1976). With a stable lineup in place for the first time in several years, the album marked a return to basics for the Rolling Stones and did not feature many guest musicians, unlike many of their prior albums. Notable contributions to the album, however, come from blues harmonica player Sugar Blue on "Miss You" and the title track. Despite controversy surrounding its cover artwork and lyrical content, Some Girls was a commercial success, peaking at number two on the UK Albums Chart and number one on the US Billboard Top LPs & Tape chart. It became the band's top-selling album in the United States, having been certified by the RIAA for selling six million copies by 2000. Several hit singles emerged from the album, which became rock radio staples for decades, including "Beast of Burden" (US number eight), "Shattered" (US number 31), "Respectable" (UK number 23), highlighted by "Miss You", which reached number one in the United States and number three in the UK. Rebounding from the relative critical disappointment of Black and Blue, Some Girls was a critical success, with many reviewers calling it a classic return to form for the band and their best album since Exile on Main St. (1972). It became the only Rolling Stones album to be nominated for a Grammy Award in the Album of the Year category. Retrospectively, it has continued to receive acclaim, with many commending the band's ability to blend contemporary music trends with their older signature style. Considered one of the band's finest records, Rolling Stone has included Some Girls in their lists of the 500 Greatest Albums of All Time. By 1976, the Rolling Stones' popularity was in decline as the charts were dominated by disco and newer bands such as Aerosmith and Kiss. In the UK, the punk rock movement was a rising force and made most artists connected with the 1960s era seem obsolete. The group had also failed to produce a critically acclaimed album since 1972's Exile on Main St. On 7 February 1977, the Stones were scheduled to play El Mocambo in Toronto, Ontario; however, Keith Richards and his partner Anita Pallenberg were arrested for possession of heroin and suspected of drug trafficking. With the help of Jimmy Carter, who obtained visas, the pair was permitted to leave Canada so that Richards could undergo detoxification in the United States. During this time, Richards obtained a conditional visa for France and met the rest of the Stones in Paris to begin work on what became Some Girls.[6] Facing the possibility of Richards receiving a seven-year sentence in Canada, Jagger and Richards both believed that the Stones might be forced to disband and that Some Girls could be the last album.[6] During Richards' trial, the courtroom was filled with Stones fans and it became clear to reporters present that he would not be "sent to jail." Overseeing the trial, Judge Lloyd Graburn stated that while "heroin addicts should go to prison if they commit theft to support their habit, or make no effort to kick the habit...Richards was different. He made so much money as a rock star, he didn't need to steal, and his effort to remove himself from the drug culture was an example to others." Graburn issued Richards a one-year probation and ordered that he play a benefit concert at the Canadian National Institute for the Blind within six months; Graburn chose this sentencing option after speaking with a blind fan whom Richards had befriended years earlier and ensured her safe passage to and from concerts. Tickets were provided for free to the blind and other tickets were made available for sighted fans at regular price. Later in February 1977, the Stones renewed their contract with Atlantic Records for US distribution, and out of patriotic feelings originating from this being the year of Queen Elizabeth II's Silver Jubilee, signed with EMI for distribution to the rest of the world. Mick Jagger is generally regarded as the principal creative force behind Some Girls. Keith Richards was in legal trouble for much of 1977, which resulted in the band being inactive on the touring circuit during that year, except for two shows in Canada during the spring for the live album Love You Live. Jagger solely wrote "Miss You", as well as "Lies" and "When the Whip Comes Down". In addition to punk, Jagger claims to have been influenced by dance music, most notably disco, during the recording of Some Girls, and cites New York City as a major inspiration for the album, an explanation for his lyrical preoccupation with the city throughout. At least as important for the band's reinvigoration was the addition of Ronnie Wood to the lineup, as Some Girls was the first album recorded with him as a full member. Unlike the guitar style of Mick Taylor, Wood's guitar playing style meshed with that of Richards, and slide guitar playing became one of the band's hallmarks. His unconventional uses of the instrument featured prominently on Some Girls and he contributed to the writing process. Wood later recalled that working with the Stones was a different experience from with his former band the Faces, stating, "I had never worked so intensely before on a project." In addition, Jagger, who had learned to play guitar over the previous decade, contributed a third guitar part to many songs. This gave songs such as "Respectable" a three-guitar lineup. For the first time since 1968's Beggars Banquet, the core band — now Jagger, Richards, Wood, Charlie Watts, and Bill Wyman — were the main musicians on a Rolling Stones album, with few extra contributors. Ian McLagan, Wood's bandmate from the Faces, played keyboards, and harmonica player Sugar Blue contributed to several songs, in addition to saxophonist Mel Collins and Simon Kirke, who played percussion. The band decided not to use studio musicians, including Billy Preston and Nicky Hopkins, as Richards felt that these musicians were "technically superior", but ultimately led the band into experimental territory and away from their basic sound. Jagger's guitar contributions caused the band's road manager, Ian Stewart, to be absent from many of the sessions, as he felt piano would be superfluous, making this a rare Rolling Stones album on which he did not appear. Rehearsals for Some Girls began in October 1977 and lasted a month before recording commenced in November, breaking before Christmas and starting up again after New Year's before finishing in March 1978. Under their new British recording contract with EMI (remaining with Warner Music Group in North America only), they were able to record at EMI's Pathé Marconi Studios in Paris, a venue at which they would record frequently for the next several years. Three studios were made available to the band - two large studios featuring high ceilings and 24-track recording capabilities and a more modest studio with 16-track capabilities. The band opted to use the latter as a rehearsal space, and despite Jagger wanting to move to the larger studios, opted to remain in the smaller one and use it for recording. According to Richards, songs were written on a day-by-day basis. The band ended up recording about 50 new songs, several of which turned up in altered forms on Emotional Rescue (1980) and Tattoo You (1981). Chris Kimsey was the engineer for the sessions. Kimsey's direct method of recording, together with the entrance of the then state-of-the-art Mesa/Boogie Mark I amplifiers instead of the Ampeg SVT line of amps, yielded a bright, direct, and aggressive guitar sound. The album cover for Some Girls was conceived and designed by Peter Corriston, who designed the next three album covers, with illustrations by Hubert Kretzschmar. An elaborate die-cut design, with the colours on the sleeves varying in different markets, it featured the Rolling Stones' faces alongside those of select female celebrities inserted into a copy of an old Valmor Products Corporation advertisement. The cover design was challenged legally when Lucille Ball, Farrah Fawcett, Liza Minnelli (representing her mother Judy Garland), Raquel Welch, and the estate of Marilyn Monroe threatened to sue for the use of their likenesses without permission. Similarly, Valmor did take legal action and were given a monetary award for the use of their design. The album was quickly reissued with a redesigned cover that removed all the celebrities, whether they had complained or not. The celebrity images were replaced with black and punk-style garish colours with the phrase "Pardon our appearance – cover under reconstruction". Jagger later apologised to Minnelli when he encountered her during a party at the famous discothèque Studio 54. The only celebrity whose face was not removed was ex-Beatle George Harrison. As with the original design, the colour schemes on the redesigned sleeves varied in different markets. A third version of the album cover with the hand-drawn faces from the original Valmor ad was used on the 1986 CD reissue. Immediately following its release, Some Girls attracted controversy. According to Cyrus Patell, a prominent black music station WBLS in New York City refused to play "Miss You" due to what the station deemed to be "the offensive racial attitudes of the album and the band." Additionally, the title track attracted controversy with the line "Black Girls just want to get fucked all night/I just don't have that much jam." Regarding the line, Ahmet Ertegun, the chairman of Atlantic Records (the US distributor of Rolling Stones Records), stated: "When I first heard the song, I told Mick it was not going to go down well. Mick assured me that it was a parody of the type of people who hold these attitudes. Mick has great respect for blacks. He owes his whole being, his whole musical career, to black people." Incidentally, black-oriented radio stations began to boycott "Some Girls", leading Jagger to tell Rolling Stone: "Atlantic tried to get us to drop it, but I refused. I've always been opposed to censorship of any kind, especially by conglomerates. I've always said, 'If you can't take a joke, it's too fucking bad.'" On 6 October 1978, Ertegun met with Reverend Jesse Jackson, then leader of Operation PUSH (People United to Save Humanity) to discuss the lyric. The meeting ended with Jackson declaring the song to be a "racial insult" that "degrades blacks and women", threatening to boycott the record until a resolution was met. Ertegun concurred, saying, "It is not our wish to in any way demean, insult, or make less of the people without whom there would be no Atlantic Records." After discussing the matter with Atlantic officials, who considered censoring the line, Earl McGrath, president of Rolling Stones Records, released a statement on 12 October on behalf of the band: It never occurred to us that our parody of certain stereotypical attitudes would be taken seriously by anyone who heard the entire lyric of the song in question. No insult was intended, and if any was taken, we sincerely apologize.

"Stuck in the Middle with You" (sometimes known as "Stuck in the Middle") is a song written by Scottish musicians Gerry Rafferty and Joe Egan and performed by their band Stealers Wheel. The band performed the song on the BBC's Top of the Pops in May 1973, and the song charted at No. 8 in the UK Singles Chart. It also became an international hit, reaching No. 6 in the US Billboard Hot 100. "Stuck in the Middle with You" was released on Stealers Wheel's 1972 eponymous debut album. Gerry Rafferty provided the lead vocals, with Joe Egan singing harmony. It was produced by Jerry Leiber and Mike Stoller. Rafferty's lyrics are a dismissive tale of a music industry cocktail party written (i.e. the clowns and jokers would be all the music executives and hangers on), and performed as a parody of Bob Dylan's style (the vocal impression, subject, and styling were so similar, listeners have wrongly attributed the song to Dylan since its release). The band was surprised by the single's chart success.[4] The single sold over one million copies, eventually peaking at No. 6 on the US Billboard Hot 100 chart, No. 8 in the UK, and No. 2 in Canada. Billboard ranked it as the No. 30 song for 1973. The band appeared playing the song on BBC's Top of the Pops on 18 May 1973. Written by: Joe Egan, Gerald Rafferty Album: Stealers Wheel Released: 1972 Stuck In The Middle With You Stealers Wheel Well I don't know why I came here tonight I've got the feeling that something ain't right I'm so scared in case I fall off my chair And I'm wondering how I'll get down the stairs Clowns to the left of me Jokers to the right Here I am stuck in the middle with you Yes I'm stuck in the middle with you And I'm wondering what it is I should do It's so hard to keep this smile from my face Losing control, yeah I'm all over the place Clowns to the left of me Jokers to the right Here I am stuck in the middle with you When you started off with nothing And you're proud that you're a self-made man And your friends they all come crawling Slap you on the back and say Please Please Trying to make some sense of it all But I can see it makes no sense at all Is it cool to go to sleep on the floor? 'Cause I don't think that I can take anymore Clowns to the left of me Jokers to the right Here I am stuck in the middle with you When you started off with nothing And you're proud that you're a self-made man And your friends they all come crawling Slap you on the back and say Please Please Well I don't know why I came here tonight I've got the feeling that something ain't right I'm so scared in case I fall off my chair And I'm wondering how I'll get down the stairs Clowns to the left of me Jokers to the right Here I am stuck in the middle with you Yes I'm stuck in the middle with you Stuck in the middle with you Here I am, stuck in the middle with you

“Tenderloin” is the ninth track of Agents of Fortune. A tenderloin is the best cut you can buy... Tenderloin Blue Öyster Cult Written by: Allen Lanier Album: AGENTS OF FORTUNE Released: 1976 I come to you in a blue, blue room By some abuse and some heart You raise the blinds say, "Let's have light on life Let's watch it fall apart Let's watch it fall apart" Night time flowers, evening roses Bless this garden that never closes Treat her gently, treat her kind Tenderloin will last all night I'm feeling hungry, have another line So faith is taken up You raise your eyes, say that's just like life There's never quite enough There's never quite enough Night time flowers, evening roses Bless this garden that never closes Treat her gently, treat her kind Tenderloin will last all night I come to you in a blue, blue room By some abuse and some heart You raise the blinds say "Let's have light on life" Let's watch it fall apart Let's watch it fall apart Let's watch it fall apart