Psychological operations

"Refugee" is a song recorded by American rock band Tom Petty and the Heartbreakers, was released in January 1980 as the second single from their album Damn the Torpedoes, and peaking at No. 15 on the Billboard Hot 100 singles chart. In a November 2003 interview with, Campbell described the recording sessions for "Refugee": That was a hard record to make. It was a 4-track that I made at my house. He (Tom Petty) wrote over the music as it was, no changes, but it took us forever to actually cut the track. We just had a hard time getting the feel right. We must have recorded that 100 times. I remember being so frustrated with it one day that - I think this is the only time I ever did this - I just left the studio and went out of town for two days. I just couldn't take the pressure anymore, but then I came back and when we regrouped we were actually able to get it down on tape. Billboard described "Refugee" as being "Petty at his best," specifically praising the "gutsy rock vocal and searing guitar lines." Cash Box said it has "growing interplay between guitar and organ, coupled with Petty’s forceful vocals." Record World called it a "perfect union of power and passion." Tom Petty said of this song: "This was a reaction to the pressures of the music business. I wound up in a huge row with the record company when ABC Records tried to sell our contract to MCA Records without us knowing about it, despite a clause in our contract that said they didn't have the right to do that. I was so angry with the whole system that I think that had a lot to do with the tone of the Damn the Torpedoes album. I was in this defiant mood. I wasn't so conscious of it then, but I can look back and see what was happening. I find that's true a lot. It takes some time usually before you fully understand what's going on in a song - or maybe what led up to it." Mike Campbell told Songfacts: "When we were at the studio mixing it, I remember this one girl who was working in reception, she came in and heard the mix and she said, 'That's a hit, that's a hit,' and we looked at each other and said, 'Maybe it is.' You don't always know. Sometimes you think certain things are surefire and people just don't latch on to them and other things they do. You know when it's good or not, but you don't always know if it's a hit. A hit record a lot of times is more than just the song, it's the timing, the climate you put it out in, what people are listening to and what they're expecting to hear and if it touches a nerve at a certain time." Tom Petty and the Heartbreakers performed Refugee in 1979 on their first Saturday Night Live appearance, where they also played "Don't Do Me Like That." The band shot a music video for this song because they didn't want to appear on The Merv Griffin Show in person. It did the trick, and the video aired on the show, allowing Tom Petty and the Heartbreakers to promote the song without showing up. This was the only place they thought the video would air, but when MTV launched in 1981, it got lots of play on the network, which craved rock videos from American artists. The band became one of the most popular acts on MTV During a Twitter Q&A in December 2011, Petty disclosed that Melissa Etheridge doing "Refugee" was the best cover of the song he ever heard. Etheridge's version was recorded for her 2005 compilation album, Greatest Hits: The Road Less Traveled. "You Got Lucky" is the first single from Tom Petty and the Heartbreakers' album Long After Dark. The song peaked at #20 on the Billboard Hot 100 and #1 on the Billboard Top Tracks chart, where it stayed for three weeks at the end of 1982. Somewhat unusually for a Petty song, guitars give up the spotlight to allow synths to carry the song's main structure. Petty felt the video was "a real groundbreaker," and stated that he and the band wrote the treatment themselves, borrowing heavily from the post-apocalyptic look of Mad Max 2, released in 1981.[6] The video begins with Tom Petty and Mike Campbell happening upon a black tent in front of the Vasquez Rocks after riding in a hovercar (from the television series Logan's Run). They find a radio/cassette player wrapped in bubble wrap and play the tape, which begins the music of "You Got Lucky." The other band members, Howie Epstein, Benmont Tench and Stan Lynch, arrive in a sidecar racing motorcycle.

"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

All of You Don Felder Persephone is the Statue on top of the U.S. Capitol Building, ergo... everything beneath that "Iron Dome" (look it up), must be of Hades... What was Grandma Hazel's nickname again? Hady? Aphrodite is an ancient Greek goddess associated with love, lust, beauty, pleasure, passion, procreation, and as her syncretized Roman goddess counterpart Venus, desire, sex, fertility, prosperity, and victory. Aphrodite's major symbols include seashells, myrtles, roses, doves, sparrows, and swans. The cult of Aphrodite was largely derived from that of the Phoenician goddess Astarte, a cognate of the East Semitic goddess Ishtar, whose cult was based on the Sumerian cult of Inanna. Aphrodite's main cult centers were Cythera, Cyprus, Corinth, and...Athens. All credit to the story and initial graphic slideshow by https://www.youtube.com/@SeeUinHistory My stuff is not monetized, and if his is, show him some love. Good condensed and concise bits mostly free of politics and just facts, like modern day "Cliff's Notes". They still got those or is culture now so stupid they'll only give you an assignment if they made a pox movie about the subject matter? Enjoy the decline and sharpen your sword. Donald William Felder (born September 21, 1947) is an American musician who was the lead guitarist of the rock band Eagles from 1974 until his termination from the band in 2001. He was inducted into the Rock and Roll Hall of Fame in 1998 with the Eagles. Felder was inducted into the Musicians Hall of Fame and Museum in 2016. Don Felder was born in Gainesville, Florida, on September 21, 1947. He was raised in a Southern Baptist family. Felder was first attracted to music after watching Elvis Presley live on The Ed Sullivan Show. He acquired his first guitar when he was about ten years old, which he has stated he exchanged with a friend at the five-and-dime for a handful of cherry bombs. A self-taught musician, he was heavily influenced by rock and roll. At the age of 13 he started his first band, the Continentals which also included Stephen Stills and Isaac Guillory. Felder's family could not afford music lessons, so he taught himself to play guitar by ear, by listening to tape recordings that he played back at half speed. He worked at a music school started by a Berklee graduate, who taught music theory and some notation to Felder during his employment there. Around that time, he met Bernie Leadon who later became one of the founding members of the Eagles. Leadon replaced Stephen Stills in the Continentals, which eventually changed its name to the Maundy Quintet. Felder and Leadon both attended Gainesville High School. Felder gave guitar lessons at a local music shop for about 18 months, at which time Felder also learned how to play slide guitar from Duane Allman. Although Felder claimed that he taught a young Tom Petty how to play the guitar, Petty denied that he was ever taught the guitar by Felder, clarifying that Felder instead taught him how to play piano. All of You Don Felder Written by: Don Felder Album: Heavy Metal (Music from the Motion Picture) Released: 1995 You must be a lost angel, dressed to your silk legs. Born somewhere between heaven, Hell, I don't know what place. Yes, I can tell that you've cast your spell, The way you hold me, somehow. If this is sin, Baby count me in, I can't turn back now. I've got to have all of you, Little darlin' All of your lovin', all of your huggin', all of your kisses too. I've got to have all of you. Every day, in every way now, no one else will do. Now, I've been told that it's ages old, Goes back to Adam and Eve. Yes I know how the story goes, When a woman begins to deceive. Now here you stand, before my naked eyes, My heart is pounding so. If I should die darlin' in your arms, What a lovely way to go. I've got to have all of you, Little darlin' All of your lovin', all of your huggin', all of your kisses too. I've got to have all of you. Every day, in every way, now, no one else will do.

Thirteen uploaded Friday October 13th 2023 Glenn Danzig formed Danzig in New Jersey in 1987. The project is the singer's third major commercial venture, after the punk bands The Misfits and Samhain. In 2009, Danzig's song "Thirteen" was chosen by director Todd Phillips to open the highly successful movie The Hangover. In 2011, Danzig recorded a new song called "Black Hell" specifically for the sequel, The Hangover Part II. Danzig Written by: Glenn Danzig Album: 6:66: Satan's Child Released: 1999 Bad luck wind been blowin' on my back I was born to bring trouble wherever I'm at With the number '13' tattooed on my neck That ink starts to itch Black gon' turn to red I was born in the soul of misery And I never had me a name They just give me a number when I was young Got a long line of heartache I carry it well The list of lives I've broken Reach from here to Hell And a bad luck wind been blowin' on my back Pray you don't look at me And I pray I don't look back I was born in the soul of misery And I never had me a name They just give me a number when I was young Found me with a preacherman confessin' all I done Catch me with the devil playing 21 And a bad luck wind been blowin' on my back I was born to bring trouble wherever I'm at I was born in the soul of misery And I never had me a name They just give me a number when I was young When I was young When I was young When I was young Johnny Cash cover Written by: Glen Danzig Album: American Recordings Released: 1994

Ain't No Fun (Waiting Round To Be A Millionaire) The genesis of this song appears to be a letter Bon Scott wrote shortly after joining the band. In January 1972, the Scottish-born Ronald Belford Scott married Irene Thornton, a native born Australian. The two traveled to the UK with Bon's band Fraternity, but although they were backed by Hamish Henry, a wealthy idealistic Adelaide music promoter, the tour was a disaster, and the band broke up. His new band would soon establish themselves as the biggest rock group in Australia and one of the biggest in the world, but they were not an overnight success, and in a letter to Irene, Bon included a PS to his brother Graeme: "If you can still manage the other $50 I'd love ya f'rever. It's no fun waiting round to be a millionaire!!!" This Young/Young and Scott composition runs to 7 minutes 31 seconds and has a terrible irony about it; Bon Scott died in London on February 19, 1980 at the age of 33, just as he and his band were becoming a force in rock music. He was most definitely having fun, and if he had managed to wait around a little longer he would just as definitely have become a millionaire many times over. Bon Scott was murdered and all ACDC albums were held from US Release as long as possible because of Maximum Overdrive which was theatrically released on July 25, 1986. King has long professed his appreciation for AC/DC and desperately wanted to get them involved in the making of Maximum Overdrive. Legend has it that he wooed them by proving his fandom and singing “Ain’t No Fun Waiting Round to Be a Millionaire” from their 1976 album Dirty Deeds Done Dirt Cheap in its entirety. That was an obvious signal and Bonn Scott had always rejected this because fundamentally Bonn wasn't a bad guy, but them little Scottish Midget (coof Masonic coof) brothers Angus and Malcom was a different story. The band agreed to provide the music for the film, which they released as 1987’s “Who Made Who.” Only the earliest pressings of the album note that it’s the official soundtrack to King’s film. Obviously Who Made Who was after the very much successful Back in Black album, Brian Johnson's first with the Young brothers... Now look and think about that "Back in Black" album which stopped the "Waiting Round to Be a Millionaire". The same song which was sung in full (according to lore) by Stephen King to Angus, Malcom AND BRIAN JOHNSON... ONE DAY AFTER AC/DC drummer Phil Rudd was arrested for allegedly attempting to procure the murders of two men, the main murder-for-hire charge has been dropped. Greg Hollister-Jones – the Crown Solicitor of Tauranga, New Zealand, where Rudd was arrested – made the decision to withdraw the charge due to “insufficient evidence.” A press release from Hollister-Jones’ office, which advises the Tauranga government on legal affairs and would have been prosecuting the drummer, said that it had informed Rudd’s lawyers and police of his decision. The High Court will not be trying Rudd on this charge, though a spokesperson for the Tauranga Crown Solicitor’s office confirmed to Rolling Stone that Rudd still faces charges of threatening to kill and possession of methamphetamine and cannabis. Rudd was arrested for allegedly trying to have two as-yet-unidentified men killed in late September. He was also charged with possession of methamphetamine and cannabis, following a raid on his home, as well as threatening to kill. The drummer appeared in court and was released on bail. There is a spoken line near the end of the song, where Bon says, "Hey Howard, how you doin' baby? Oh yeah, next door neighbor... Get your f*kn' Jumbo Jet out of my airport!" Bon is referring to the billionaire Howard Hughes, with a tongue-in-cheek reference to the imaginary lifestlye of living as a millionaire. before you, a door opens.

The Jack and Jailbreak AC/DC Pictures from https://oldworld.althist.com/ "The Jack" is Australian slang for Gonorrhea, which is also known as "The Clap." AC/DC lead singer Bon Scott explained the origin of the song in a 1976 interview with Sounds. Said Scott: "We were living with this houseful of ladies who were all very friendly and everyone in the band had got the jack. So we wrote this song and the first time we did it on stage they were all in the front row with no idea what was goin' to happen. When it came to repeatin' 'She's got the jack' I pointed at them one after another." Added guitarist Angus Young: "After that, wherever we did the song the girls in the audience would run to the back of the hall." Bon Scott was known for his outrageous behavior both on and off stage. He told this story in the same Sounds interview: "One time I had the jack and this girl wanted f--kin' and she was so ugly I figured, s--t! Nobody else would have her so she wouldn't spread it. But when we'd finished she went next door to Phil (Rudd, their drummer) and gave it to him. And a few weeks later she sent him a doctor's bill for 35 dollars for the cure. Well, next time she came to a show I got her up on stage in the middle of 'The Jack' and explained how she'd got it wrong and it was me owed her the money." On mike that was. This was released in Australia in 1975 on AC/DC's second album, T.N.T. Their first two Australian releases were combined to form High Voltage in 1976, which was their first album released worldwide. In concert, Bon Scott would sometimes share with the crowd a more direct set of lyrics than the one on the recording. He also did a bit where he would introduce the song by singing (to the tune of "Maria" from West Side Story): AC/DC played this before a crowd of 500,000 at show in Toronto in 2003. The concert, which also featured The Rolling Stones, Rush, and others, was a benefit for the city, which suffered a drop in tourism due to the spread of a rare disease called SARS (Sudden Acute Respiratory Syndrome). AC/DC had no problem singing about one disease at a benefit for another, and the fans didn't mind either. The Jack AC/DC Written by: Ronald Belford Scott, Angus Young, Malcolm Young Album: High Voltage Released: 1976 She gave me the Queen She gave me the King She was wheelin' and dealin' Just doin' her thing She was holdin' a pair But I had to try Her Deuce was wild But my Ace was high But how was I to know That she'd been dealt with before Said she'd never had a Full House But I should have known From the tattoo on her left leg And the garter on her right She'd have the card to bring me down If she played it right She's got the jack, she's got the jack She's got the jack, she's got the jack She's got the jack, she's got the jack She's got the jack, she's got the jack She's got the jack, jack, jack, jack, jack, jack, jack She's got the jack Poker face was her name Poker face was her nature Poker straight was her game If she knew she could get you She played 'em fast And she played 'em hard She could close her eyes And feel every card But how was I to know That she'd been shuffled before Said she'd never had a Royal Flush But I should have known That all the cards were comin' From the bottom of the pack And if I'd known what she was dealin' out I'd have dealt it back She's got the jack, she's got the jack She's got the jack, and who knows what else? She's got the jack, yeah, yeah She's got the jack, she's got the jack She's got the jack, she's got the jack She's got the jack, jack, jack, jack, jack, jack, jack She's got the jack She's got the jack, she's got the jack, Ooh, It was a bad deal, (Jack) She gave me the (Jack), hey She's got the (Jack), she's got the (Jack) She's got the (Jack), ooh can't you tell She's got the (Jack, jack, jack, jack, jack, jack, jack, jack) (She's got the jack, she's got the Jack) She's got the jack, she's got the Jack She's got the jack, you never know! She's got the jack, she's got the jack She's got the jack She's got the jack, and it hurts! (She's got the jack) She's got the jack, jack, jack, jack, jack, jack, jack She's got the jack Aaaaaah! Oooooh! Thank you, thank you, thank you people, thank you, thank you I'm glad you like the show, yes, thank you very much folks. Goodnight and God bless! On February 19th, 1980, the body of Bon Scott, lead singer of the Australian hard rock band AC/DC, was found in his car having asphyxiated on his own vomit after a night of drinking. Nothing seemed particularly off the night previous. A mate of his, Alistair Kinnear, was driving him home when he noticed Scott had fallen asleep, not surprising since they had been drinking. So, he called Silver Smith and they lowered the seat so that Scott could sleep on his back. In the morning, Kinnear found Scott still asleep, brought him to the hospital in a panic, and learned he was already dead shortly after. By this point, Scott had been with AC/DC for six years and the band was rising ever higher. Their sixth album, Highway to Hell, had just broken the US Top 100, a first for the band. A successful promotional tour had just ended and Malcolm and Angus Young were just beginning to play around with songs for the next album. Scott was supposed to start singing the next day. Scottish Brothers Malcolm and Angus Young might be larger-than-life, but in person, it's a bit of a different story. Older brother Malcolm is the taller of the two, at only 5-foot-3. Angus stands all of 5-foot-2. One suspects Bonn Scott was murdered prior to the production of Maximum Overdrive and that the direction Scott wanted to go was perhaps somewhat different than the record company wanted. What Tavistock wants, Tavistock gets. Scottish Brothers indeed... the original Jailbreak Video did it for me. Stephen King and Maximum Overdrive are the cherry topping the dessert. Jailbreak 1974 AC/DC Written by: Ronald Belford Scott, Angus Young, Malcolm Young There was a friend of mine on murder And the judge's gavel fell Jury found him guilty Gave him 16 years in Hell He said "I ain't spending my life here" "I ain't living alone" Ain't breaking no rocks on the chain gang I'm breakin' out and headin' home Gonna make a (jailbreak) And I'm lookin' towards the sky I'm gonna make a (jailbreak) Oh, how I wish that I could fly All in the name of liberty All in the name of liberty Got to be free (Jailbreak) Let me out of here (Jailbreak) 16 years, oh, whoo (Jailbreak) Had more than I can take (Jailbreak) Yeah He said he'd seen his lady being fooled with By another man She was down and he was up He had a gun in his hand Oh, bullets started flying everywhere And people started to scream Big man lying on the ground With a hole in his body Where his life had been But it was All in the name of liberty All in the name of liberty I got to be free (Jailbreak) (Jailbreak) I got to break out Out of here Heartbeats they were racin' Freedom, he was chasin' Spotlights, sirens Rifles firing But he made it out With a bullet in his back (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak) (Jailbreak)

Falling Off the Edge of the World with a Country Girl & Voodoo by Dio and Black Sabbath The Warhammer world drew inspiration from Tolkien's Middle-earth, but also from Robert E. Howard (Conan the Barbarian) and Michael Moorcock, as well as real-world history, particularly European history. What is recognizable as the Warhammer World began with the expansion material to the first edition of the game Warhammer, but was formulated as a distinct setting with a world map in the second edition. The Warhammer World borrowed considerably from historical events and other fantasy fiction settings. The Old World is recognisably Europe approximating to various historical periods including the Renaissance - the Empire being set over what was the Holy Roman Empire - medieval France, Roman Italy and Celtic Britain. Many events are lifted and modified directly from history, including the Black Plague and the Moorish invasion of Spain, and others from original fantasy sources. Like Middle-earth, Warhammer's Dwarfs are declining in population, the Elves have mostly departed for homelands in the West, and a Great Necromancer is reborn after the defeats in his Southern stronghold. There are numerous nations and races in the Warhammer World. Mankind, the most prominent, often proves to be the most susceptible to the corrupting influence of Chaos. Most of the featured human nations are based in the Old World (analogous to real world Europe): The Empire (Holy Roman Empire), Bretonnia (France and Arthurian Britain), and Kislev (Russia). Further east of them is another powerful human civilisation known as Grand Cathay (corresponding to China). Many factions, such as the Elves, the Lizardmen, the Ogres and the Halflings, have been created by the Old Ones: star-travelling gods responsible for the creation of most of the setting's sentient races. These Old Ones were brought low by the daemonic forces inadvertently unleashed by the collapse of their Warp Gates (one on the North Pole and one on the South Pole), leaving their creations to fend for themselves. This backstory also provides an easy explanation for the presence of a variety of familiar fantasy races. Ogres and Halflings, for example, are closely related. Both are resistant to the mutating effects of Chaos energies (fuelled by hearty appetites and efficient metabolisms), but have opposite physical templates. Mob Rules is the tenth studio album by English heavy metal band Black Sabbath, released in November 1981. It followed 1980's Heaven and Hell, and was the second album to feature lead singer Ronnie James Dio and the first with drummer Vinny Appice. Neither musician would appear on a Black Sabbath studio album again until the 1992 album Dehumanizer. Produced and engineered by Martin Birch, the album received a remastered Deluxe Edition release in 2010 and an expanded edition in 2021. The first new recording Black Sabbath made after the Heaven and Hell album was a version of the title track "The Mob Rules" for the soundtrack of the film Heavy Metal. The track "E5150" is also heard in the film but not included on the soundtrack. According to guitarist Tony Iommi's autobiography Iron Man: My Journey Through Heaven & Hell with Black Sabbath, the band began writing and rehearsing songs for Mob Rules at a rented house in Toluca Lake in Los Angeles. Initially the band hoped to record in their own studio to save money and actually purchased a sound desk; but, according to Iommi, "We just couldn't get a guitar sound. We tried it in the studio. We tried it in the hallway. We tried it everywhere but it just wasn't working. We'd bought a studio and it wasn't working!" The band eventually recorded the album at the Record Plant in Los Angeles. Mob Rules was the first Sabbath album to feature Vinny Appice on drums, who had replaced original member Bill Ward in the middle of the Heaven and Hell tour. Asked by Joe Matera in 2007 if working with a new drummer was jarring after so many years, bassist and lyricist Geezer Butler replied, "No, because Vinny was a big fan of the band and loved Bill's playing. Bill was one of his favourite drummers and so he knew all his parts and my bass parts and he adjusted accordingly to everybody in the band. He was brilliant. He came in and totally filled in Bill's shoes." Mob Rules would be singer Ronnie James Dio's second and final studio recording with Black Sabbath until the Mob Rules-era line-up reunited for 1992's Dehumanizer. The seeds of discontent appear to have sprouted when Dio was offered a solo deal by Warner Brothers, with Iommi stating in his memoir, "After the (Heaven and Hell) record became such a great success, Warner Brothers extended the contract at the same time, offering Ronnie a solo deal. That felt a bit odd to us, because we were a band and we didn't want to separate anybody." Dio confided in an interview on the Neon Nights: 30 Years of Heaven and Hell DVD that the recording of Mob Rules was far more difficult for him than Heaven and Hell because "we approached the writing very much differently than the first one. Geezer had gone so we wrote in a very controlled environment in a living room with little amplifiers. And with Mob Rules we hired a studio, turned up as loud as possible and smashed through it all. So it made for a different kind of an attitude". Vinny Appice stated in a 2021 interview with Pariah Burke that the writing for the album was largely a collaborative process done through jam sessions. He stated, "We put [songs] together by jamming and playing together and putting ideas in the pot. It's a natural way of doing it and it works really well for us. That's how we did all the big albums like Mob Rules and Holy Diver. Nobody came in with a song.” Iommi reflected to Guitar World in 1992, "Mob Rules was a confusing album for us. We started writing songs differently for some reason, and ended up not using a lot of really great material. That line-up was really great, and the whole thing fell apart for very silly reasons — we were all acting like children." The major problem, noted by Mick Wall in his book Black Sabbath: Symptom of the Universe, was that the balance of power within the band had shifted.

The Distance & Never There by Cake Haven Research Facility B Latitude 29.473677 Longitude -81.581383 = Bent Oak Drive, Putnam County, FL 32157, United States of America... Crescent Lake and Crescent City... "The Distance" is a song by American band Cake. Released in August 1996, "The Distance" was the first single from the band's second album, Fashion Nugget, and is considered one of their most popular songs. It was written by the band's guitarist at the time, Greg Brown. This was used in an episode of The Simpsons called "Saddlesore Galactica." The song's opening lyric, "Reluctantly crouched at the starting line", is prominently featured in the remix "The Starting Line" by Neil Cicierega on his album Mouth Moods. The song is heard in the opening of episode 10 "SHNGRLA" in season 1 of Twisted Metal. Reluctantly crouched at the starting line Engines pumping and thumping in time The green light flashes, the flags go up Churning and burning, they yearn for the cup They deftly maneuver and muscle for rank Fuel burning fast on an empty tank Reckless and wild, they pour through the turns Their prowess is potent and secretly stern As they speed through the finish, the flags go down The fans get up and they get out of town The arena is empty except for one man Still driving and striving as fast as he can The sun has gone down and the moon has come up And long ago somebody left with the cup But he's driving and striving and hugging the turns And thinking of someone for whom he still burns He's going the distance He's going for speed She's all alone In her time of need Because he's racing and pacing and plotting the course He's fighting and biting and riding on his horse He's going the distance No trophy, no flowers, no flashbulbs, no wine He's haunted by something he cannot define Bowel-shaking earthquakes of doubt and remorse Assail him, impale him with monster-truck force In his mind, he's still driving, still making the grade She's hoping in time that her memories will fade Cause he's racing and pacing and plotting the course He's fighting and biting and riding on his horse The sun has gone down and the moon has come up And long ago somebody left with the cup But he's striving and driving and hugging the turns And thinking of someone for whom he still burns 'Cause he's going the distance He's going for speed She's all alone In her time of need Because he's racing and pacing and plotting the course He's fighting and biting and riding on his horse He's racing and pacing and plotting the course He's fighting and biting and riding on his horse He's going the distance He's going for speed He's going the distance Here's an excerpt from Rolling Stone's (RS.com) interview with Greg Brown who wrote the song and explains its meaning. He also explains about why the race car metaphor is used. RS.COM: Will the success of The Distance" mean you'll be writing more songs? GREG BROWN: Man, I sure hope so. I was delighted that John was receptive to it, because he's been writing songs for a long time. It was the only song I wrote to appear on the record. I'm really happy with it. John did a great vocal track. Victor (Damiani) put down a good bass line, and Vincent (di Fiore) came up with a cool trumpet part. RS.COM: What's the song about? GB: I wrote it about a relationship of mine. It's about a guy who races and races, even after the race is over. He's basically clueless. I used the race car metaphor so it wouldn't be so sentimental ... it seemed apt. RS.COM:Is sarcasm a difficult device to pull off in song writing? GB: Well, I'm not a sarcastic guitarist, but it's pretty recurrent in our songs. John uses it probably for the same reason I used the race car metaphor in "Distance": to basically distance himself from the song. "Never There" is the first single released from Cake's third studio album, Prolonging the Magic (1998). The song was commercially successful, topping the US Billboard Modern Rock Tracks chart and appearing on the music charts of four other countries. According to Cake vocalist John McCrea, the lyrics are sung from the viewpoint of a boy who is frustrated that his girlfriend never answers his phone calls. The boyfriend believes he will not make it through life without her, but in reality, he needs to focus on his own concerns instead. McCrea has described "Never There" as "a country song in disguise". The music video for "Never There", directed by McCrea, features Cake performing in a western-style bar, while a story arc covers a trucker calling his girlfriend on a pay phone and she never answers as she is too busy partying with male body builders in speedos. It was filmed in Sacramento, California. Never There Cake Written by: Mc Crea John M Album: Prolonging the Magic Released: 1998 I need your arms around me I need to feel your touch I need your understanding I need your love, so much You tell me that you love me so You tell me that you care But when I need you (baby) Baby (you're never there) On the phone long, long distance Always through such strong resistance First you say you're too busy I wonder if you even miss me Never there You're never there You're never ever, ever, ever, there A golden bird that flies away A candle's fickle flame To think I held you yesterday Your love was just a game A golden bird that flies away A candle's fickle flame To think I held you yesterday Your love was just a game You tell me that you love me so You tell me that you care But when I need you (baby) Baby! Take the time to get to know me If you want me why can't you just show me We're always on this roller coaster If you want me why can't you get closer Never there You're never there You're never ever, ever, ever, there Never there You're never there You're never ever, ever, ever, there

reedit recompress and repost. In 1997, a runaway teenager and her yellow toy robot travel west through a strange USA. The ruins of gigantic battle drones litter the countryside, heaped together with the discarded trash of a high tech consumerist society in decline. As their car approaches the edge of the continent, the world outside the window seems to be unraveling ever faster—as if somewhere beyond the horizon, the hollow core of civilization has finally caved in. The Smashing Pumpkins 1979, Tonight Tonight, Ava Adore, Bullet with Butterfly Wings 1979 contains the same numbers as 1997 where the electric state takes place. "1979" is a song by American alternative rock band the Smashing Pumpkins. It was released in 1995 as the second single from their third studio album, Mellon Collie and the Infinite Sadness. "1979" was written by frontman Billy Corgan, and features loops and samples uncharacteristic of previous Smashing Pumpkins songs. The song was written as a nostalgic coming-of-age story by Corgan. In the year 1979, Corgan was twelve, and this is what he considered his transition into adolescence. "1979" reached number two in Canada and Iceland, number six in Ireland, number nine in New Zealand, and number 12 in the United States. It charted within the top 20 in several other countries, including Australia and the United Kingdom. The song was nominated for the Record of the Year and Best Rock Performance by a Duo or Group with Vocal at the 39th Annual Grammy Awards, and won an MTV Video Music Award for Best Alternative Video. In 2012, it was voted the second-best Smashing Pumpkins song by Rolling Stone readers. "Tonight, Tonight" is a song by American alternative rock band the Smashing Pumpkins, written by the band's frontman, Billy Corgan. It was the fourth single and second track on the first disc from their third album, Mellon Collie and the Infinite Sadness, and was released in May 1996 in Europe. "Tonight, Tonight" was critically acclaimed and commercially well-received upon its release, reaching number one in Iceland, number two in New Zealand, number seven in the United Kingdom and number 36 on the US Billboard Hot 100. The music video accompanying the song was also successful and won several awards. Billy Corgan began writing for the follow-up to Siamese Dream after the tour in support of that album; however, the recording of "Tonight, Tonight" first began while the Pumpkins were still on the Siamese Dream tour when Corgan booked the band into a local Chicago studio to record all of their song ideas on tape. On The Howard Stern Show, Corgan has said that the song pays homage to Cheap Trick, with its black humoresque lyrics and theme, and that the song is addressed to himself, who escaped from an abusive childhood against all odds, so as to keep him believing in himself. "Ava Adore" is a song by American alternative rock band the Smashing Pumpkins. It was the first single from their fourth album, Adore, and exhibited a new sound from the band which integrated traditional instruments with loops and electronic music. "Ava Adore" and the B-sides were written by Billy Corgan. When released as a single in May 1998, "Ava Adore" reached number one in Iceland, number two in Greece, number five in New Zealand, and the top 20 in Australia, Canada, Hungary, Ireland, Norway, Sweden, and the United Kingdom. In the United States, it reached number 42 on the Billboard Hot 100, number three on the Modern Rock Tracks chart, and number eight on the Mainstream Rock chart. "Bullet with Butterfly Wings" is a song by the American alternative rock band the Smashing Pumpkins. It was released as the lead single from their 1995 double album Mellon Collie and the Infinite Sadness, and is the sixth track on the first disc. This song was the band's first top-40 US hit, peaking at number 22 on the Billboard Hot 100. It also spent six weeks at number two on the Billboard Modern Rock Tracks chart and peaked at number four on the Billboard Album Rock Tracks chart. In Canada, the song peaked at number 18 on the RPM Top Singles chart and spent four weeks at number one on the RPM Alternative 30 chart, becoming Canada's most successful rock song of 1995. It also reached number one in Iceland for a week. The song won the Grammy Award for Best Hard Rock Performance in 1997. It was named the 91st best hard rock song of all time by VH1 in 2009 and ranked number 70 on the 2008 list of "The 100 Greatest Guitar Songs of All Time" of Rolling Stone. The song came second in the Triple J Hottest 100, 1995, was later voted number 51 in the Triple J Hottest 100 of All Time, 2009 and placed at number 25 in the Triple J Hottest 100 of the Past 20 Years, 2013. The song had its origins during the recording of 1993's Siamese Dream. According to frontman Billy Corgan, "I have a tape of us from 1993 endlessly playing the 'world is a vampire' part over and over". It was not until 1995 that Corgan finished the song with the noted chorus "rat in a cage"

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.

All I Can Do is Write About It Lynyrd Skynyrd Columbia South Carolina, know your godess... Miss Columbia, is a SINGLE unwed female national personification of the United States. Very slutty it seems... pawned out by her creepy Uncle Sam... lets call today's version "Elon" shall we? Columbia was also a historical name applied to the Americas and to the New World. The association has given rise to the names of many American places, objects, institutions and companies, including the District of Columbia; Columbia, South Carolina the State Capital; Columbia University; "Hail, Columbia"; Columbia Rediviva; and the Columbia River. Images of the Statue of Liberty (Liberty Enlightening the World, erected in 1886) largely displaced personified Columbia as the female symbol of the United States by around 1920, although Lady Liberty was seen as an aspect of Columbia. Columbia's most prominent display in the 21st Century is as part of the logo of the Hollywood film studio Columbia Pictures. Columbia is a Neo-Latin toponym, in use since the 1730s with reference to the Thirteen Colonies which formed the United States. It originated from the name of the Genoese explorer Christopher Columbus and from the Latin ending -ia, common in the Latin names of countries (paralleling Britannia, Gallia, Zealandia, and others). Massachusetts Chief Justice Samuel Sewall used the name "Columbina" for the New World in 1697. The name "Columbia" for America first appeared in 1738 in the weekly publication of the debates of Parliament in Edward Cave's The Gentleman's Magazine. Publication of parliamentary debates was technically illegal, so the debates were issued under the thin disguise of Reports of the Debates of the Senate of Lilliput and fictitious names were used for most individuals and place names found in the record. Most of these were transparent anagrams or similar distortions of the real names and some few were taken directly from Jonathan Swift's Gulliver's Travels while a few others were classical or neoclassical in style. Such were Ierne for Ireland, Iberia for Spain, Noveborac for New York (from Eboracum, the Roman name for York) and Columbia for America—at the time used in the sense of "European colonies in the New World". Lynyrd Skynyrd were taking a stand against Governor Wallace and his regime. Ronnie said in the same interview where he says that they sing ” Boo boo boo” that he did not like Wallaces views. Rpnnie said the press did not pic up on the ” Boo boo boo” Thats why it became controversial. This song is not about race, but has been about as missunderstood as ” Born in the USA” by Bruce Springsteen which was NOT a patrotic song. "I wrote that song because the way things are goin on in todays time, I just know one day they are gonna build a holiday inn in the middle of the Everglades and what I'm basically sayin' is I dont wanna see it! That's why I say lord take me and mine before that comes." All I Can Do Is Write About It Lynyrd Skynyrd Written by: Ronnie Van Zant, Allen Collins Album: Gimme Back My Bullets Released: 1976 Well, this life that I live, took me everywhere There ain't no place I ain't never gone Well it's kind of like the sayin' That you heard so many times Well, there just ain't no place like home Did you ever see a she-gator protect her youngin' Or fish in a river swimmin' free? Did you ever see the beauty of the hills of Carolina Or the sweetness of the grass in Tennessee? And Lord, I can't make any changes All I can do is write 'em in a song 'Cause, if I can see the concrete, slowly creepin' Lord, take me and mine before that comes I'd like to see a mountain stream flowin' Do you like to see a youngin' with his dog? Did you ever stop and think about Well, the air your breathin'? Well, you better listen to my song And Lord, I can't make any changes All I can do is write 'em in a song 'Cause, I can see the concrete slowly creepin' Lord, take me and mine before that comes I'm not tryin' to put down no big city But the things they write about us is just a bore Well, you can take a boy out of ole' Dixieland, Lord But you'll never take ole' Dixie from a boy And Lord, I can't make any changes All I can do is write 'em in a song 'Cause, I can see the concrete slowly creepin' Lord, take me and mine before that comes I say, I can see the concrete slowly creepin' Lord, take me and mine before that comes

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.

Where did the United States "Mental Health System" come from? Florida says South Carolina... and Francis Marion, the Swamp Fox says that shit came from France. Bonjour, cows...

It’s the biggest mystery on Wall Street. Hurricane Sandy floodwaters inundated a 10,000-square-foot underground vault downtown at 55 Water St., soaking 1.3 million bond and stock certificates — including bearer bonds that function like cash — and putting them in danger of turning to mush. A contractor working for the vault owner, the Depository Trust and Clearing Corp., is feverishly working to restore the paper. But the value of the threatened notes under 55 Water St. remains unknown to all but the innermost circle of Wall Street bankers. One source said $70 billion in bearer bonds were in jeopardy. DTCC — a depository controlled by the biggest financial firms on Wall Street — won’t say exactly what was in its vaults, how much the notes are worth, and who owns what. Most of its member firms, including Deutsche Bank, JP Morgan Chase, Bank of America, UBS and Citi did not return calls. "Tweeter and the Monkey Man" is a song by the British-American supergroup the Traveling Wilburys that first appeared on the 1988 album Traveling Wilburys Vol. 1. Although the official songwriting credit is given to all members of the band, it is thought that Bob Dylan is the main songwriter because he sings lead vocals and published the song under his Special Rider Music label. However, this is partially contradicted by George Harrison's account of the song in the 2007 documentary The True History of the Traveling Wilburys: "Tweeter and the Monkey Man" was really [written by] Tom Petty and Bob [Dylan]. Well, Jeff [Lynne] and I were there too, but they were just sitting there around in the kitchen, and he was for some reason talking about all this stuff that didn't make much sense, you know, and we got a tape cassette and put it on and then transcribed everything they were saying. Harrison also recalled that he and Lynne then contributed the chorus, beginning with the line "And the walls came down", based on an idea of Dylan's from the same tape. Funny... Bruce Springsteen is a pedophile. "Tweeter and the Monkey Man" is sometimes regarded as a playful homage to the songs of Bruce Springsteen, who was often hailed as "the next Dylan" early in his career. The lyrics include the titles of many Springsteen songs, and the song borrows many of Springsteen's themes. The setting of the song itself is New Jersey, Springsteen's home state and the setting for many of Springsteen's own songs. New Jersey locations such as Rahway Prison and Jersey City are mentioned by name. Springsteen song title references include: "Stolen Car", "Mansion on the Hill", "Thunder Road", "State Trooper", "Factory", "The River", and a song made popular by Springsteen but written by Tom Waits, "Jersey Girl". Additionally, "Lion's Den" and "Paradise" are each mentioned and prominently enunciated in the song, each being the title of a Springsteen song released after the Traveling Wilburys album. Only Dylan, Harrison, Petty and Lynne took part in recording "Tweeter and the Monkey Man," making it the only song on Vol. 1 not to feature Roy Orbison in any capacity. The Traveling Wilburys Bob Dylan – lead vocals, acoustic guitar, backing vocals George Harrison – acoustic guitar, dobro, slide guitar, backing vocals Jeff Lynne – acoustic guitar, bass guitar, keyboards, backing vocals Tom Petty – acoustic guitar, backing vocals Additional musicians Jim Keltner – drums Jim Horn – saxophones Ray Cooper – percussion Tom Petty and the Heartbreakers performed a cover of the song several times in 2013, including the Beacon Theatre on May 20, the Bonnaroo Music & Arts Festival on June 14, and the Firefly Music Festival (Dover, DE) on June 22. The performance from the Beacon appears on the group's digital album Live 2013. P. Paul Fenech (the Meteors) covered this song on his solo album International Super Bastard in 2010. Freek de Jonge recorded a version in Dutch on his 2002 album Parlando, under the title "Libelle en mug". Tweeter And The Monkey Man Traveling Wilburys Album: The Traveling Wilburys, Vol. 1 Released: 1988 Tweeter and the Monkey Man were hard up for cash They stayed up all night, selling cocaine and hash To an undercover cop who had a sister named Jan For reasons unexplained, she loved the Monkey Man Tweeter was a boy scout 'fore she went to Vietnam And found out the hard way nobody gives a damn They knew that they'd find freedom just across the Jersey line So they hopped into a stolen car, took Highway 99 And the walls came down All the way to hell Never saw them when they're standing Never saw them when they fell The undercover cop never liked the Monkey Man Even back in childhood, he wanted to see him in the can Jan got married at 14 to a racketeer named Bill She made secret calls to the Monkey Man from a mansion on the hill It was out on Thunder Road, Tweeter at the wheel They crashed into paradise, they could hear them tires squeal The undercover cop pulled up and said, "Every one of you's a liar If you don't surrender now, it's gonna go down to the wire" And the walls came down All the way to hell Never saw them when they're standing Never saw them when they fell An ambulance rolled up, a state trooper close behind Tweeter took his gun away and messed up his mind The undercover cop was left tied up to a tree Near the souvenir stand, by the old abandoned factory Next day the undercover cop was hot in pursuit He was taking the whole thing personal, he didn't care about the loot Jan had told him many times, "It was you to me who taught In Jersey, anything's legal as long as you don't get caught" And the walls came down All the way to hell Never saw them when they're standing Never saw them when they fell Some place by Railway Prison, they ran out of gas The undercover cop had cornered 'em said, "Boy, you didn't think that this could last" Jan jumped out of bed, said, "There's someplace I gotta go" She took a gun out of the drawer and said, "It's best if you don't know" The undercover cop was found face down in a field The Monkey Man was on the river bridge using Tweeter as a shield Jan said to the Monkey Man, "I'm not fooled by Tweeter's curl I knew him long before he ever became a Jersey girl" And the walls came down All the way to hell Never saw them when they're standing Never saw them when they fell Now the town of Jersey City is quieting down again I'm sitting in a gambling club called The Lion's Den The TV set was blown up, every bit of it was gone Ever since the nightly news show that the Monkey Man was on I guess I'll go to Florida and get myself some sun There ain't no more opportunity here, everything been done Sometimes I think of Tweeter, sometimes I think of Jan Sometimes I don't think about nothing but the Monkey Man And the walls came down All the way to hell Never saw them when they're standing Never saw them when they fell And the walls came down All the way to hell Never saw them when they're standing Never saw them when they fell

"Tom Sawyer" is a song by Canadian rock band Rush, originally released on their 1981 album Moving Pictures as its opener. The band's lead singer, bassist, and keyboardist, Geddy Lee, has referred to the track as the band's "defining piece ... from the early '80s". It is one of Rush's best-known songs and a staple of both classic rock radio and Rush's live performances, having been played on every concert tour since its release. The song was written by Geddy Lee, drummer Neil Peart, and guitarist Alex Lifeson in collaboration with lyricist Pye Dubois of the band Max Webster, who also co-wrote the Rush songs "Force Ten", "Between Sun and Moon", and "Test for Echo". According to the US radio show In the Studio with Redbeard (which devoted an episode to the making of Moving Pictures), "Tom Sawyer" came about during a summer rehearsal vacation that Rush spent at Ronnie Hawkins' farm outside Toronto. Peart was presented with a poem by Dubois named "Louis the Lawyer" (often incorrectly cited as "Louis the Warrior") that he modified and expanded. Lee and Lifeson then helped set the poem to music. The "growling" synthesizer sound heard in the song came from Lee experimenting with his Oberheim OB-X. For "Tom Sawyer", Lee switched from his Rickenbacker 4001 to a Fender Jazz Bass he purchased from a pawn shop. In the December 1985 Rush Backstage Club newsletter, drummer and lyricist Neil Peart said: Tom Sawyer was a collaboration between myself and Pye Dubois, an excellent lyricist who wrote the lyrics for Max Webster. His original lyrics were kind of a portrait of a modern day rebel, a free-spirited individualist striding through the world wide-eyed and purposeful. I added the themes of reconciling the boy and man in myself, and the difference between what people are and what others perceive them to be—namely me, I guess. Alex Lifeson describes his guitar solo in "Tom Sawyer" in a 2007 interview: I winged it. Honest! I came in, did five takes, then went off and had a cigarette. I'm at my best for the first two takes; after that, I overthink everything and I lose the spark. Actually, the solo you hear is composed together from various takes. Tom Sawyer was used as the show opener on the Vapor Trails tour but it was preceded by the band's on and off long time use of the Three Stooges Theme (aka "Three Blind Mice") complete with a parodied version of the Three Stooges title screen image on video behind the stage featuring the band instead of the original stoogies. They would break into the song immediately following the last note of the intro music. The Rush in Rio DVD and CD do not feature this intro music but it was played in RIO as well, as it was the entire tour. It was cut from the final mix because of its near inaudibility due to the loudness of the RIO crowd. The use of the hi-hat by Peart to signal that, regardless of their inability to hear the intro recording, it was immediately time to start the song. The drums are mixed into the in-ear monitors with much more volume than the intro/background and sound effects from the band's video screen recordings. Geddy Lee – vocals, bass guitar, keyboards Alex Lifeson – guitar Neil Peart – drums Tom Sawyer Rush Album: Moving Pictures Released: 1981 A modern-day warrior Mean, mean stride Today's Tom Sawyer Mean, mean pride Though his mind is not for rent Don't put him down as arrogant His reserve a, quiet defense Riding out the day's events The river What you say about his company Is what you say about society Catch the mist, catch the myth Catch the mystery, catch the drift The world is, the world is Love and life are deep Maybe as his skies are wide Today's Tom Sawyer, he gets high on you And the space he invades, he gets by on you No, his mind is not for rent To any god or government Always hopeful, yet discontent He knows changes aren't permanent But changes is And what you say about his company Is what you say about society Catch the witness, catch the wit Catch the spirit, catch the spit The world is, the world is Love and life are deep Maybe as his eyes are wide Exit the warrior, today's Tom Sawyer He gets high on you and the energy you trade He gets right onto the friction of the day!

Titicut Follies By Frederick Wiseman 1967 0:00:01 V for Vendetta Scene 0:02:40 The Road to Shembala Three Dog Night 0:07:00 Titicut Follies by Frederick Wiseman 1967 (filmed 1966) 1:31:03 Franklyn's Tower The Grateful Dead Filmmaker Frederick Wiseman exposes conditions at a Massachusetts hospital for the criminally insane. VIEWER DISCRETION ADVISED: Adult situations & NSFW (insane situation) Titicut Follies is a 1967 American direct cinema documentary film produced, written, and directed by Frederick Wiseman and filmed by John Marshall. It deals with the patient-inmates of Bridgewater State Hospital for the Criminally Insane, a Massachusetts Correctional Institution in Bridgewater, Massachusetts. The title is taken from that of a talent show put on by the hospital staff. Titicut is the Wampanoag name for the nearby Taunton River. The film won accolades in Germany and Italy. Wiseman went on to produce a number of such films examining social institutions (e.g. hospitals, police, schools, etc.) in the United States. In 2022, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Titicut Follies portrays the occupants of Bridgewater State Hospital, who are often kept in barren cells and infrequently bathed. It also depicts inmates/patients required to strip naked publicly, force feeding, and the indifference and bullying by many of the hospital’s staff. Titicut Follies was the beginning of the documentary career of Frederick Wiseman, a Boston-born lawyer turned filmmaker. He had taken his law classes from Boston University to the institution for educational purposes and had "wanted to do a film there". He began calling the facility superintendent, seeking permission to film a year prior to production. Wiseman had previously produced The Cool World (1964), based on Warren Miller’s novel of the same name, an experience that informed his desire to direct. Wiseman drafted a proposal that was verbally agreed to by the superintendent, which later came into question when the film began distribution. Following that agreement, filming began, with corrections staff following Wiseman at all times and determining on the spot whether the subjects filmed were mentally competent, adding further confusion to an already fraught process. While on location, Wiseman recorded the sound and directed the cameraman via microphone or by hand. Just before the film was to be shown at the 1967 New York Film Festival, the Massachusetts government tried to procure an injunction banning its release, claiming that the film violated the patients' privacy and dignity. Despite Wiseman having received permission from all the people portrayed or that of the hospital superintendent (the inmates' legal guardian), Massachusetts claimed that this permission could not take the place of release forms from the inmates. Wiseman was also accused of breaching an "oral contract", giving the state government editorial control over the film. A New York state court allowed the screening, but in 1968, Massachusetts Superior Court judge Harry Kalus ordered the film to be recalled from distribution and all copies destroyed, once more citing the state's concerns about violations of the patients' privacy and dignity. Wiseman appealed to the Massachusetts Supreme Judicial Court, which in 1969 allowed it to be shown only to doctors, lawyers, judges, health-care professionals, social workers, and students in these and related fields. Wiseman appealed to the United States Supreme Court, which refused to hear the case. Wiseman believes that the government of Massachusetts (concerned that the film portrayed a state institution in a bad light) intervened to protect its reputation. The state intervened after a social worker in Minnesota wrote to Massachusetts governor John Volpe, expressing shock at a scene involving a naked man being taunted by a guard. The dispute was the first known instance of a film being banned from general American distribution for reasons other than obscenity, immorality, or national security. It was also the first time that Massachusetts recognized a right to privacy at the state level. Wiseman has said, "The obvious point that I was making was that the restriction of the court was a greater infringement of civil liberties than the film was an infringement on the liberties of the inmates." The film is now legally available through its distributor, Zipporah Films Inc., for purchase or rental on DVD and for educational and individual license. Zipporah released the DVD to the home market in December 2007. In 2020, the film was shown on Turner Classic Movies. In 2022, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

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

The song playing in the background of the opening scene is: "Garota de Ipanema" (Brazilian Portuguese), "The Girl from Ipanema", is a Brazilian bossa nova and jazz song. It was a worldwide hit in the mid-1960s and won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinícius de Moraes. English lyrics were written later by Norman Gimbel. The Road to Shamballa Three Dog Night "Shambala" is a song written by Daniel Moore and made famous by two near-simultaneous releases in 1973: the better-known but slightly later recording by Three Dog Night, which reached No. 3 on the Billboard Hot 100, and a version by B. W. Stevenson. Its title derives from a mythical place-name also spelled Shamballa or Shambhala. The song's actual lyrics are about the mythical kingdom of Shambhala, which was said to be hidden somewhere within or beyond the peaks of the Himalayas and was mentioned in various ancient texts, including the Kalachakra Tantra and ancient texts of Tibetan Buddhism. The original location was a mystic temple in Peru, specifically, the temple of the White Lodge, according to Alice Bailey's A Treatise on White Magic (1934), cited by Moore. The lyrics refer to a situation where kindness and cooperation are universal, joy and good fortune abound, and psychological burdens are lifted. The phrases "in the halls of Shambala" and "on the road to Shambala" tie for number of occurrences in the lyrics. The latter phrase perhaps alludes to the idea of Shambala not as a physical place but as a metaphor for the spiritual path one might follow. The well-known cover version of this song by the rock band Three Dog Night appeared in 1973 on the Billboard Hot 100, on the top 40 from the beginning of June through the end of August, reaching No. 3 in both the pop singles and adult contemporary categories, No. 1 on the Cashbox charts, and an isolated week at No. 1 on WLS. The song, the first one that the group had specifically cut as a single, rather than as part of an album project, later appeared on Cyan, Three Dog Night's ninth album, and subsequently on numerous anthologies and compilation albums. Although the lyrics of "Shambala" draw on a theme from Eastern mysticism, AllMusic notes the "very strong gospel feeling" of the album Cyan is most evident on this song. Allmusic calls this hit single "one of the group's finest later period records." In the original recording, writer Daniel Moore pronounces the first syllable of the title ("sham") as it would rhyme with "ham." The Three Dog Night and B.W. Stevenson versions pronounce that syllable to rhyme with "mom." Shambala Three Dog Night Written by: Daniel Joseph Moore 1973 The group had specifically cut this as a single, rather than as part of an album project, but it later appeared on Cyan, Three Dog Night's ninth album. Wash away my troubles Wash away my pain With the rain in Shambala Wash away my sorrow Wash away my shame With the rain in Shambala Ah ooh yeah Yeah yeah yeah yeah yeah Ah ooh yeah Yeah yeah yeah yeah yeah Everyone is helpful Everyone is kind On the road to Shambala Everyone is lucky Everyone is so kind On the road to Shambala Ah ooh yeah Yeah yeah yeah yeah yeah Ah ooh yeah Yeah yeah yeah yeah yeah How does your light shine In the halls of Shambala How does your light shine In the halls of Shambala I can tell my sister by the flowers in her eyes On the road to Shambala I can tell my brother by the flowers in his eyes On the road to Shambala Ah ooh yeah Yeah yeah yeah yeah yeah Ah ooh yeah Yeah yeah yeah yeah yeah How does your light shine In the halls of Shambala How does your light shine In the halls of Shambala Tell me how does your light shine In the halls of Shambala Tell me how does your light shine In the halls of Shambala Ah ooh yeah Yeah yeah yeah yeah yeah Ah ooh yeah On the road to Shambala Ah ooh yeah To Shambala Ah ooh yeah On the road to Shambala

I am the Prince of Pensacola. "Roadhouse Blues" is a song by the American rock band the Doors from their 1970 album Morrison Hotel. It was released as the B-side of "You Make Me Real", which peaked at No. 50 on the U.S. Billboard Hot 100. "Roadhouse Blues" charted in its own right on the Cash Box Top 100, peaking at No. 76. The song became a concert staple for the group and it has been covered by numerous artists. Hailed by sound engineer Bruce Botnick as "the all-time American bar band song," "Roadhouse Blues"–despite its relatively unsuccessful chart peak–received strong airplay on rock radio stations. The song's title was considered for the name of the album, but it was eventually changed. It was ranked the 153rd top classic-rock song by Q104,3, and the eleventh best rock song of all time by Time Out. The song was recorded over two days, from November 4 to 5, 1969. Producer Paul A. Rothchild insisted on several takes, some of which were included on the 2006 remastered album. Jim Morrison, who was intoxicated during the sessions, flubbed several lyrics and kept repeating the phrase "Money beats soul every time". There was more progress on the second day when resident guitarist Lonnie Mack (then employed as an Elektra Records A&R representative) joined in to play bass; Ray Neapolitan, the regular bassist during the Morrison Hotel sessions, was stuck in traffic. Although there has been speculation that Mack also contributed the guitar solo, he confirmed that he had played bass and nothing else. While Mack had stopped working as a professional musician at the time, he decided to return to his career following the session. Guitarist Robby Krieger is responsible for all guitar parts on "Roadhouse Blues"; Morrison shouts "Do it, Robby, do it!" at the start of the guitar solo. Ray Manzarek switched from a Wurlitzer electric piano to a tack piano. Ex–Lovin' Spoonful frontman John Sebastian contributed harmonica (listed as "G. Puglese" for contractual reasons). Alice Cooper claimed that he was the inspiration for the line "Woke up this morning and I got myself a beer", as stated on his Planet Rock morning show: "We were sitting there drinking and Jim comes in and he flops down ... I said that I had got up this morning and got myself a beer and while we're talking he just writes that down. So they go in and they're doing the song and the next thing I hear is 'Woke up this morning and I got myself a beer' and I went 'I just said that a second ago!'" Jim used to sing to his girlfriend when they were driving, before the song was written... "Keep your eyes on the road, your hands upon the wheel" James Douglas Morrison was born on December 8, 1943 in Melbourne, Florida, to Clara Virginia (née Clarke; 1919–2005) and Lt.(j.g.) George Stephen Morrison (1919–2008), a future Admiral in the United States Navy. Admiral Morrison was commander of United States Navy forces during the Gulf of Tonkin Incident of August 1964, which was the blue torch that created an escalation of American involvement in the Vietnam War. The Doors Jim Morrison – vocals Robby Krieger – guitar Ray Manzarek – tack piano John Densmore – drums Additional musicians Lonnie Mack – bass John Sebastian – harmonica Written by: written by Robby Krieger & Ray Manzarek Album: Morrison Hotel Released: 1970 Hi, how you doin' there? Y-e-ah. Looking good. Everything is fucked up as usual... you know... WHOOOOOAAAAAAOOOO - C´MON! A-keep your eyes on the road, your hands upon the wheel A-keep your eyes on the road, your hands upon the wheel Come to the Roadhouse, gonna have a real, a good time. Yeah, at the back of the Roadhouse they got some bungalows. Ah, at the back of the Roadhouse they got some bungalows. That's for the people... like to go down slow. Let it roll, baby, roll, Let it roll, baby, roll, Let it roll, baby, roll, Let it roll — all night long. Ashen lady, Ashen lady, Give up your vows, Give up your vows. Save our city, save our city Right now! Yeah, I woke up this morning, I got myself a beer. Well, I woke up this morning, I got myself a beer. Future's uncertain and the end is always near. Let it roll, baby, roll, Let it roll, baby, roll, Let it roll, baby, roll, Let it roll — all night long.

The Electric Light Orchestra was formed by members of an English group called The Move. They wanted to create a new band with a string section along with traditional instruments. On their 1978 tour, they opened their shows by emerging from a giant spaceship. A lot of people thought it looked like a hamburger. Their first manager was Don Arden. When he lost interest in the group, he gave them to his daughter Sharon who ran Jet Records. Sharon nee Arden married Ozzy Osbourne a few years later. "Strange Magic" is a song written Jeff Lynne and performed by Electric Light Orchestra (ELO). "Strange Magic" is the sixth track on the fifth studio album Face the Music. The 'weeping' guitar lick was provided by keyboardist Richard Tandy while Jeff Lynne played a 12-string acoustic guitar fed through a phase shifter. The song has a complicated history with a number of different versions — most by ELO and one by Jeff Lynne alone — released both as a single and as a track on a number of different albums. After its initial appearance on Face the Music, it was released as a single in 1976 in two versions, one for the US and one for the UK, both different from the original. The US single was more edited than the UK single which appeared as it was originally in Face the Music, but without the orchestral intro. Also in 1976, "Strange Magic" was included as the final track in the United Artists Records promotional ELO album, Olé ELO. In 1978, the song was included on the band's The ELO EP. A remastered version was included on the box set Flashback in 2000. In September 2006, a remastered Face the Music album was released; it contained the US edit version from the 1976 single releases. Finally, Jeff Lynne re-recorded the song in his own home studio in 2012. It was released in a compilation album with other re-recorded ELO songs, under the ELO name. "Strange Magic" is also a good description for this song's sonics. Compressed to a tight 3:27 for the single release (it runs 4:29 on the album), the song packs in an intriguing array of harmonies and hooks while integrating the famous ELO string section. The lyric is suitably trippy, and very repetitious, with the title appearing five times per chorus. Writer: JEFF LYNNE You're sailing softly through the sun In a broken stone age dawn You fly so high I get a strange magic Oh, what a strange magic Oh, it's a strange magic Got a strange magic Got a strange magic You're walking meadows in my mind Making waves across my time Oh no, oh no I get a strange magic Oh, what a strange magic Oh, it's a strange magic Got a strange magic Got a strange magic Oh, I'm never gonna be the same again Now I've seen the way it's got to end Sweet dream, sweet dream Strange magic Oh, what a strange magic Oh, it's a strange magic Got a strange magic Got a strange magic It's magic, it's magic, it's magic Strange magic Oh, what a strange magic Oh, it's a strange magic Got a strange magic Strange magic Oh, it's a strange magic Oh, it's a strange magic Got a strange magic Strange magic Oh, what a strange magic Oh, it's a strange magic Got a strange magic Strange magic You know I got a strange magic Yeah I got a strange magic Strange magic

"Monkey Wrench" is a song by the band Foo Fighters. It was released as the lead single from their second album, The Colour and the Shape. The lyrics chronicle the 1997 disintegration of singer/songwriter Dave Grohl's four-year marriage to Jennifer Youngblood. The song peaked at number 9 on the Billboard Mainstream Rock Tracks chart, and at number 12 on the UK Singles Chart. The Foo Fighters are an American rock band, formed in Seattle in 1994. It was founded by Nirvana drummer Dave Grohl as a one-man project following the death of Kurt Cobain and the resulting dissolution of his previous band. The group got its name from the UFOs and various aerial phenomena that were reported by Allied aircraft pilots in World War II, which were known collectively as foo fighters. Prior to the release of Foo Fighters' 1995 debut album Foo Fighters, which featured Grohl as the only official member, Grohl recruited bassist Nate Mendel and drummer William Goldsmith, both formerly of Sunny Day Real Estate, as well as fellow Nirvana touring bandmate Pat Smear as guitarist to complete the lineup. The band began with performances in Portland, Oregon. Goldsmith quit during the recording of the group's second album, The Colour and the Shape (1997) when most of the drum parts were re-recorded by Grohl himself. Smear's departure followed soon afterward. They were replaced by Taylor Hawkins and Franz Stahl, respectively, although Stahl was fired before the recording of the group's third album, There Is Nothing Left to Lose (1999). When the band played this at the Bizarre festival in '97, Grohl sang, "What do you do when all your enemies are FRENCH?" This song is in drop-d tuning. One of the greatest, and yet the most simple, bass lines in rock music. Dave Grohl – vocals, lead guitar, drums Pat Smear – rhythm guitar Nate Mendel – bass Monkey Wrench Foo Fighters Written by: David Eric Grohl Album: The Colour and the Shape Released: 1997 What have we done with innocence? It disappeared with time, it never made much sense Adolescent resident Wasting another night on planning my revenge One in ten One in ten One in ten Don't want to be your monkey wrench One more indecent accident I'd rather leave than suffer this I'll never be your monkey wrench All this time to make amends What do you do when all your enemies are friends? Now and then I'll try to bend Under pressure, wind up snapping in the end One in ten One in ten One in ten Don't want to be your monkey wrench One more indecent accident I'd rather leave than suffer this I'll never be your monkey wrench Temper Temper Temper One last thing before I quit I never wanted any more than I could fit Into my head I still remember every single word you said And all the shit that somehow came along with it Still there's one thing that comforts me Since I was always caged and now I'm free Don't want to be your monkey wrench One more indecent accident I'd rather leave than suffer this I'll never be your monkey wrench Don't want to be your monkey wrench (fall in, fall out) Don't want to be your monkey wrench (fall in, fall out) Don't want to be your monkey wrench (fall in, fall out) Don't want to be your monkey wrench

"Man on the Silver Mountain" is the debut single by Rainbow and the first track of their debut album, Ritchie Blackmore's Rainbow, written by guitarist Ritchie Blackmore and vocalist Ronnie James Dio. After Dio's death, Rob Halford performed a cover of the song and said it "captures the things I personally love in metal tracks". In a 1975 radio special with RJD & R. Blackmore, Ronnie explains this song - "It is kind of a semi religious song in the respect that the man on the silver mountain is the kind of god figure that everyone is crying out to come and save them ". Ronnie weaved such great words that it meant something and left room for your imagination to fill in the rest. Man On The Silver Mountain Rainbow Written by: Ronnie James Dio, Richard Blackmore Album: Ritchie Blackmore's Rainbow Released: 1975 I'm a wheel, I'm a wheel I can roll I can feel And you can't stop me turnin' 'Cause I'm the sun, I'm the sun I can move I can run But you'll never stop me burnin' Come down with fire Lift my spirit higher Someone's screaming my name Come and make me holy again I'm the man on the silver mountain I'm the man on the silver mountain I'm the day, I'm the day I can show you the way And look I'm right beside you I'm the night, I'm the night I'm the dark and the light With eyes that see inside you Come down with fire Lift my spirit higher Someone's screamin' my name Come and make me holy again I'm the man on the silver mountain I'm the man on the silver mountain Come down with fire And lift my spirit higher Someone's screaming my name Come and make me holy again I'm the man on the silver mountain I'm the man on the silver mountain Well I can help you, you know I can I'm the man on the silver mountain I'm the man on the silver mountain Just look at me and listen I'm the man, the man give you my hand I'm the man on the silver mountain Coming down with fire I'll lift your spirit higher I'm the man on the mountain The man on the silver mountain I'm the night, the light the black and the white The man on the silver mountain I'm the man on the silver mountain

AT&T Microworld William Shatner 1980 Imagine a military weapon that melts glass and aluminum like in Maui and Paradise California. If it does these things then wouldn't it be logical to assume that this device was also designed to melt chips? What are chips? Funky etched glass? Western Electric was the parent company of the Bell System.

Pieces of Eight is the eighth studio album by American progressive rock band Styx, released in September 1978. Like the band's previous album, The Grand Illusion (1977), it managed to achieve triple platinum certification, thanks to the hit singles "Blue Collar Man (Long Nights)" and "Renegade". The band members produced and recorded the album (like their previous three efforts) at Paragon Studios in Chicago with recording engineer Barry Mraz and mixing engineer Rob Kingsland. "I'm O.K." was recorded at Paragon and St. James Cathedral. This would be the last Styx album to be produced at Paragon Studios. The album's cover was done by Hipgnosis. Dennis DeYoung stated in the 1991 interview with Redbeard on the In the Studio with Redbeard episode that he initially hated the cover but grew to like it as he got older. Styx commissioned Hipgnosis, the high priests of album art, to provide a cover for their 1978 album Pieces Of Eight. They ended up being bamboozled by artspeak Styx made history by being the first band to have four successive albums that each sold three million copies in the US. Pieces Of Eight was the second of them. It has arguably the most surreal cover artwork of any of the band’s many records: three mature women, all wearing earrings shaped like the famous enigmatic statues that stand on Easter Island. Former Styx frontman Dennis De Young once said of his initial reaction to the artwork: “I hated it. ‘Why do you have these old women on our album cover?’ was the first thought that came to my mind.” Guitarist James Young, with the hindsight now of decades, says: “It’s a cover that, at the time, we’d like to have changed, given the opportunity. But we had gone to the high priests of album artwork, and they delivered the finished thing so close to our deadline that there was no time to do anything. “It was Jeff Ayeroff, who had done the design for the previous album [Grand Illusion, also released in ’78] who suggested we go to Hipgnosis. Hipgnosis came up with a number of ideas, so why did Styx go for this image? "Let me first of all explain how Hipgnosis work,” James Young continues. “They gave us a lot of choices, which was very impressive. But a lot of the ones we rejected I ended up seeing on other covers. So, clearly they come up with a constant stream of ideas independently of any specific commissions. But, hey, that’s cool. “We went for the one that seemed to best reflect the concept behind the record: the idea that you shouldn’t sell out your art for gold – for pieces of eight, if you want. The women on the cover have cashed in their principles for the Easter Island set to be trendy. Besides, Hipgnosis bamboozled us with artspeak. I’m a graduate in mechanical and aerospace engineering, and didn’t understand a word. “We all thought the women on the cover would be a lot younger than they ended up. It was strange for guys in their mid-20s to be looking at their album cover featuring women in their late 40s. But, with a tour booked, we had to get the album out. We did make some suggestions for changes, but it was too late.” Young has, though, come to more than just be able to live with the design: “I now feel it’s the best cover we’ve ever had. Although it took me an age to come to that conclusion. I also feel that in the era of vinyl, the detail really worked. If we’d had that sleeve specifically for a CD it would have lost a lot of the impact.” The record is considered by some to be Styx's most obvious concept album, as well as the last Styx album with significant progressive rock leanings. The theme of the album, as Dennis DeYoung explained on In the Studio with Redbeard which devoted an entire episode to Pieces of Eight, was about "not giving up your dreams just for the pursuit of money and material possessions". Dennis DeYoung – vocals, keyboards James "JY" Young – vocals, electric guitars Tommy Shaw – vocals, electric and acoustic guitars, mandolin, autoharp Chuck Panozzo – bass guitar John Panozzo – drums, percussion Producer: Styx Engineers: Rob Kingsland, Barry Mraz Assistant engineer: Harry Andronis Mastered by Ted Jensen at Sterling Sound, NYC Cover by Hipgnosis Pieces Of Eight Styx Written by: Dennis De Young Album: Pieces Of Eight Released: 1978 It's six o'clock Good morning sounds are everywhere The warmth of spring, a gentle breeze blows through my hair I hurry through my life never stopping to see How beautiful it was meant to be I'm just a prisoner in a king's disguise Broken dreams as we shuffle by It's six o'clock it's quitting time I'm done for the day Out on the streets I overheard a lady say We now have everything or so people say But now this emptiness haunts me every day We seek the lion's share never knowing why Come alive spread your wings and fly Pieces of eight The search for the money tree Don't cash your freedoms in for gold Pieces of eight Can't buy you everything Don't let it turn your heart to stone