Psychological operations

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

Philip K Dick The 1977 Metz France Address I tried to make this a little less harsh than the original. I did not make any cuts and only tried to fix the audio and slapped the otherwise horridly produced video inside a color console TV from probably the same year. There are several poits where I reckon the shrooms kicked in from the camera man and like skipps on a record from 1977... the video skips a bit too... BUT it flows pretty good and the French Translator the camera cuts to has been removed. In 1977, cult writer Philip K. Dick arrived at a science fiction convention in Metz, France to deliver a speech called, “If You Find this World Bad, You Should See Some of the Others.” (Read an edited transcript here.) The audience would leave bewildered, mystified. His talk ranged widely across such topics as cosmological time, the possibility of the universe as a computer simulation, the experience of deja vu, and the oppressive regime of Richard Nixon. It would become a sort of rebus for decoding Dick’s fiction. If the “Metz address” were only a key to the strange occurrences in novels like A Scanner Darkly, Flow My Tears, The Policeman Said, and The Man in the High Castle, it would be an extraordinary document for Philip K. Dick fans. But just as Dick claimed that the events of his 1981 novel V.A.L.I.S. were real– he had actually had a visionary encounter with “God” after dental surgery in 1974 — so here he claims to have actually experienced, or remembered, multiple realities and, after said encounter, to have recognized them all as true. I, in my stories and novels, often write about counterfeit worlds, semi-real worlds, as well as deranged private worlds inhabited, often, by just one person, while, meantime, the other characters either remain in their own worlds throughout or are somehow drawn into one of the peculiar ones. …At no time did I have a theoretical or conscious explanation for my preoccupation with these pluriform pseudoworlds, but now I think I understand. What I was sensing was the manifold or partially actualized realities lying tangent to what evidently is the most actualized one, the one that the majority of us, by consensus gentium, agree on. “The world of Flow My Tears is an actual (or rather once actual) alternate world, and I remember it in detail. I do not know who else does. Maybe no one else does. perhaps all of you were always — have always been — here. But I was not. In novel after novel, story after story, over a twenty-five year period, I wrote repeatedly about a particular other landscape, a dreadful one. In March 1974, I understood why. …I had good reason to. My novels and stories were, without my realizing it consciously, autobiographical. It was — this return of memory – the most extraordinary experience of my life. … The narrower subject of his speech, Dick says by way of introduction, is “orthogonal time,” or “right-angle time.” To explain this he calls up an image of parallel universes overlapping at the edges of a “lateral axis.” These blend and “come into focus,” as an entity he calls “the Programer-Reprogrammer” changes the variables, while a “counterentity” he calls the “Dark Counterplayer” tries to mess things up. Despite the use of software terms, Dick’s imagery seems to draw as much from chess, or Taoism, as computer science. The interplay of programmer/counterprogrammer is a dialectic, resulting in new syntheses. God is not an independent, self-existent being but something more akin to Atman, “the view of the oldest religion of India, and to some extent… of Spinoza and Alfred North Whitehead …. God within the universe… The Sufi saying [from Rumi] ‘The workman is invisible within the workshop’ applies here.”

Generation Landslide Alice Cooper This is one of the rare recordings by Alice Cooper that features acoustic guitar and harmonica. Cooper plays the harmonica part on this track. Billion Dollar Babies became their most successful set selling over a million copies and topping the album charts in both the US and UK. It also broke into the Top Five in Australia (#4), Canada (#2) and Austria (#4). Bob Ezrin, once again, produced the record and also played keyboards on some tracks as well. Ezrin, whose other clients have included Rod Stewart, Jane's Addiction and Taylor Swift, was inducted into the Canadian Music Hall of Fame in 2004. Written by: Miranda Cooper, Michael Bruce, Dennis Dunaway, Glen Buxton, Hazel Smith Album: Billion Dollar Babies Released: 1973 Please clean your plate dear, the Lord above can see you Don't you know people are starving in Korea? Alcohol and razor blades and poisons and needles Kindergarten people, they used 'em they need 'em The over indulgent machines were their children And there wasn't a way down on earth here to cool 'em 'Cause they look just like a human at Kresge's and Woolworth's But decadent brains were at work to destroy Brats in battalions were ruling the streets scene and Generation landslide, close the gap between them And I laughed to myself at the men and the ladies Who never conceived those billion dollar babies La la da da daa Militant mothers hiding in the basement Using pots and pans as their shields and their helmets Molotov milk bottles heaved from pink high chairs While mothers' lib burned birth certificate papers And dad gets his allowance from his sonny the dealer Who's pubic to the world but involved in high finance Sister's out till 5, doing banker son's hours But she owns a Maserati that's a gift from his father Stop at full speed, at 100 miles per hour The Colgate invisible shield finally got 'em And I laughed to myself at the men and the ladies Who never conceived those billion dollar babies La la da da daa No one gives an oink about prom night or football 'Cause just getting at home from school safe is a gamble and a blessing Girlsies play with girlsies and boysies with boysies Bored with one another, like old broken Christmas toysies Kids are all hot and their parents so annoisy And I laughed to myself at the men and the ladies Who never conceived those billion dollar babies

"The Man Comes Around" is the title track from Johnny Cash's American IV: The Man Comes Around, released in 2002. It was written several years prior to the release of the album; however, Cash updated it for the album. It is one of the last songs Cash wrote before his death. Both sung and spoken, the song makes numerous Biblical references, especially to the Book of Revelation. There are numerous biblical references in the lyrics. A spoken portion from Revelation 6:1–2 in the King James Version introduces the song. The passage describes the coming of the Four Horsemen of the Apocalypse, each heralded by one of the "four beasts" first mentioned in Revelation 4:6–9. The musical portion then begins with Cash reciting that "the man" (Jesus Christ) will one day come to pass judgment. The chorus indicates that these events will be accompanied by trumpets (as in Revelation 8, 9, 11), pipers (Rev. 18:22), and "one hundred million angels singing". The voice of the Lord in Revelation is often likened to the sound of a loud trumpet (Revelation 1:10; 4:1; and 8:13). Revelation 5:11 states that John saw that there are millions of angels in Heaven. The song also alludes to the Parable of the Ten Virgins from the Gospel of Matthew (25:1–13) with the lyrics "The virgins are all trimming their wicks," a reference to the virgins' preparation of the Second Coming of Christ. The phrase, "It's hard for thee to kick against the pricks" cites Acts 26:14, where Paul the Apostle describes meeting Jesus while traveling to Damascus. It is a reference to a Greek proverb where a kicking ox only injures himself by attempting to kick against a goad, intended to represent the futility of resisting the Lord. Elsewhere, the song mentions the wise men who bow before the Lord's throne, and cast their "golden crowns" at the feet of God. Revelation 4 refers to elders who worship the Lord and "lay their crowns" before Him (Revelation 4:10). "Alpha and Omega" refers to God himself (Rev. 1:8, 11; 21:6, 22:13), but also to the cries of the newborn and the dying. "Whoever is unjust… etc" is a quote from Revelation 22:11 Of the album's fifteen tracks, only three were written by Cash, with "The Man Comes Around" the sole song specifically penned for it, and the only song Cash wrote in its entirety. The song was inspired by a dream Cash had about Queen Elizabeth II in which the Queen compared Cash to "a thorn tree in a whirlwind." Haunted by the dream, Cash became curious if the phrase was a biblical reference and eventually found a similar phrase in the Book of Job. An alternative "early take" of the song appears on the Unearthed box set (2003) and The Legend of Johnny Cash (2005). The "Legend" version omits the spoken word intro and outro. The song was used during the opening credits of the 2004 remake of Dawn of the Dead. The song is used in the last episode of the first season of Terminator: The Sarah Connor Chronicles. The song was used in the ending sequence for the final episode of the 2008 miniseries Generation Kill. The song was used in the live action debut trailer for the 2011 video game Operation Flashpoint: Red River. The song was used in the trailer and soundtrack for the 2012 film Killing Them Softly. The song is used over a montage of Raymond Reddington investigating and executing members of an attack against him in the eleventh episode of the first season of NBC's The Blacklist. The song was used during the ending credits of the movie Logan. The song is used in the wedding scene of the 2008 film My Best Friend's Girl. The song was used during the end credits of the 2003 film The Hunted, which also featured opening credits voiceover by Cash himself. The song was used for the final sequence in the ninth episode of the first season of TNT's continuation of Dallas. The song was used in the opening sequence on season 10 episode 10 of CSI: Crime Scene Investigation "Better Off Dead". The song is used in the opening credits on Season 3 Episode 16 of Criminal Minds "Elephant's Memory". The song was used in the trailer and soundtrack for the 2022 film Father Stu. The Man Comes Around Johnny Cash 2002 Written by: John R Cash "And I heard as it were the noise of thunder One of the four beasts saying, come and see And I saw, and behold a white horse" There's a man going around taking names And he decides who to free and who to blame Everybody won't be treated all the same There will be a golden ladder reaching down When the man comes around The hairs on your arm will stand up At the terror in each sip and in each sup Will you partake of that last offered cup? Or disappear into the potter's ground When the man comes around? Hear the trumpets, hear the pipers One hundred million angels singing Multitudes are marching to the big kettledrum Voices calling and voices crying Some are born and some are dying It's Alpha and Omega's kingdom come And the whirlwind is in the thorn tree The virgins are all trimming their wicks The whirlwind is in the thorn tree It's hard for thee to kick against the pricks 'Til Armageddon, no shalam, no shalom Then the father hen will call his chickens home The wise man will bow down before the throne And at his feet, they'll cast the golden crowns When the man comes around Whoever is unjust, let him be unjust still Whoever is righteous, let him be righteous still Whoever is filthy, let him be filthy still Listen to the words long written down When the man comes around Hear the trumpets, hear the pipers One hundred million angels singing Multitudes are marching to the big kettledrum Voices calling and voices crying Some are born and some are dying It's Alpha and Omega's kingdom come And the whirlwind is in the thorn tree The virgins are all trimming their wicks The whirlwind is in the thorn tree It's hard for thee to kick against the pricks In measured hundred weight and penny pound When the man comes around "And I heard a voice in the midst of the four beasts And I looked and behold, a pale horse And his name that sat on him was Death And Hell followed with him"

"Bohemian Rhapsody" is a song by the British rock band Queen, released as the lead single from their fourth album, A Night at the Opera (1975). Written by lead singer Freddie Mercury, the song is a six-minute suite, notable for its lack of a refraining chorus and consisting of several sections: an intro, a ballad segment, an operatic passage, a hard rock part and a reflective coda. It is one of the few progressive rock songs of the 1970s to achieve widespread commercial success and appeal to a mainstream audience. Mercury referred to "Bohemian Rhapsody" as a "mock opera" that resulted from the combination of three songs he had written. It was recorded by Queen and co-producer Roy Thomas Baker at five studios between August and September 1975. Due to recording logistics of the era, the band had to bounce the tracks across eight generations of 24-track tape, meaning that they required nearly 200 tracks for overdubs. The song parodies elements of opera with bombastic choruses, sarcastic recitative, and distorted Italian operatic phrases. Lyrical references include Scaramouche, the fandango, Galileo Galilei, Figaro, and Beelzebub, with cries of "Bismillah!" Although critical reaction was initially mixed, retrospective reviews have acclaimed "Bohemian Rhapsody" as one of the greatest songs of all time and is often regarded as the band's signature song. The promotional video is credited with furthering the development of the music video medium. It has appeared in numerous polls of the greatest songs in popular music, including a ranking at number 17 on Rolling Stone's list of "the 500 Greatest Songs of All Time. A Rolling Stone readers' poll ranked Mercury's vocal performance as the greatest in rock history. "Bohemian Rhapsody" topped the UK Singles Chart for nine weeks (plus another five weeks following Mercury's death in 1991) and remains the UK's third best-selling single of all time. It also topped the charts in countries including Canada, Australia, New Zealand, Ireland, and the Netherlands, and sold over six million copies worldwide. In the United States, the song peaked at number nine in 1976, but reached a new peak of number two after appearing in the 1992 film Wayne's World. In 2004, the song was inducted into the Grammy Hall of Fame. Following the release of the 2018 biopic Bohemian Rhapsody, it became the most streamed song from the 20th century. In 2021, it was certified Diamond in the US for combined digital sales and streams equal to 10 million units. According to Mercury's friend Chris Smith (a keyboard player in Smile), Mercury first started developing "Bohemian Rhapsody" in the late 1960s; Mercury used to play parts of songs he was writing at the time on the piano, and one of his pieces, known simply as "The Cowboy Song", contained lyrics that ended up in the completed version produced years later, in 1975, specifically, "Mama ... just killed a man." Producer Roy Thomas Baker, who began working with Queen in 1972, related how Mercury once played the opening ballad section on the piano for him in Mercury's flat: He played the beginning on the piano, then stopped and said, "And this is where the opera section comes in!" Then we went out to eat dinner. Guitarist Brian May said the band thought that Mercury's blueprint for the song was "intriguing and original, and worthy of work". According to May, much of Queen's material was written in the studio, but this song "was all in Freddie's mind" before they started. Queen spent a month rehearsing at Ridge Farm Studio in Surrey in mid-1975, and drummer Roger Taylor recalled that "Bohemian Rhapsody" was one of the songs the band worked on while they were there. Recording began on 24 August 1975 at Rockfield Studio 1 near Monmouth, South Wales, after a three-week rehearsal at Penrhos Court, near Kington, Herefordshire. During the making of the track, four additional studios – Roundhouse, Sarm Studios, Scorpio Sound, and Wessex Sound Studios – were used. According to some band members, Mercury mentally prepared the song beforehand and directed the band throughout. Mercury used a C. Bechstein concert grand piano, which he played in the promotional video and the UK tour. Due to the elaborate nature of the song, it was recorded in various sections. The piano was allegedly the same one Paul McCartney had used to record the Beatles' song "Hey Jude", as well as the same one Rick Wakeman used on David Bowie's 1971 album Hunky Dory. Baker recalled in 1999: "Bohemian Rhapsody" was totally insane, but we enjoyed every minute of it. It was basically a joke, but a successful joke. [laughs] We had to record it in three separate units. We did the whole beginning bit, then the whole middle bit and then the whole end. It was complete madness. The middle part started off being just a couple of seconds, but Freddie kept coming in with more "Galileos" and we kept on adding to the opera section, and it just got bigger and bigger. We never stopped laughing ... It started off as a ballad, but the end was heavy. May, Mercury, and Taylor reportedly sang their vocal parts continually for 10 to 12 hours a day. The entire piece took three weeks to record, and in some sections featured 180 separate overdubs. Since the studios of the time only offered 24 track analogue tape, it was necessary for the three to overdub themselves many times and "bounce" these down to successive sub-mixes. In the end, eighth-generation tapes were used. The various sections of tape containing the desired sub-mixes had to be spliced (cut and assembled in the correct sequence). May recalled placing a tape in front of the light and being able to see through it, as the tape had been used so many times. A similar story was told in 1977 by Taylor regarding the elaborate overdubs and sub-mixes for "The March of The Black Queen" for the album Queen II. At that time, the band was using 16 track equipment. Producer Baker recalls that May's solo was done on only one track, rather than recording multiple tracks. May stated that he wanted to compose "a little tune that would be a counterpart to the main melody; I didn't just want to play the melody". The guitarist said that his better material stems from this way of working, in which he thought of the tune before playing it: "The fingers tend to be predictable unless being led by the brain." According to Baker, ... the end of the song was much heavier because it was one of the first mixes to be done with automation ... If you really listen to it, the ballad starts off clean, and as the opera section gets louder and louder, the vocals get more and more distorted. You can still hear this on the CD. They are clearly distorted. In May 2023, an early handwritten draft unearthed from an auction of items that belonged to Mercury, courtesy of his friend Mary Austin, revealed that Mercury originally considered the song to be titled "Mongolian Rhapsody". It was explained that he wrote the title along with the lyrics in 1974 on a page of stationery from defunct airline British Midland Airways, but crossed out the word "Mongolian" in place of "Bohemian".

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

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

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

America is the debut studio album by America, released in 1971. It was initially released without "A Horse with No Name", which was released as a single in late 1971. When "A Horse with No Name" became a worldwide hit in early 1972, the album was re-released with that track. Credits are per back cover of 1972 vinyl issue.[5] America Dewey Bunnell – lead and backing vocals, 6-string acoustic guitar Gerry Beckley – lead and backing vocals, electric guitar Dan Peek – 6 and 12-string acoustic guitars , lead and backing vocals , electric guitar with: Ray Cooper – percussion Dave Atwood – drums on "Sandman", "Here", "I Need You" and "Donkey Jaw" Kim Haworth – drums on "A Horse with No Name" David Lindley – electric guitar on "Children", steel guitar on "Rainy Day" Technical Ian Samwell – producer Jeff Dexter – executive producer Ken Scott – engineering Nigel Waymouth – cover photos and design Flash Fox – logo and graphics Sandman was never released as a single, but got a lot of airplay on Album Oriented Rock (AOR) radio stations. The three members of America - Bunnell, Gerry Beckley and Dan Peek - were sons of American military service members stationed in England. They formed the band while they were going to high school near London, and stayed in the area when they graduated in 1969 and got a record deal. This being the height of the Vietnam War, the trio would often encounter soldiers that had seen action and hear their war stories. Bunnell wrote this song based on some of those tales he heard, stories about how when stationed in Vietnam, they were afraid to sleep for fear of attack, so they would stay up as long as they could (sometimes with the help of various substances), since sleep could mean death. The "sandman" represents sleep, which they feared. Thus they were always "running from the sandman." There is a widespread rumor that this song is about the US Navy's VQ-2 air squadron which was formerly based in Rota, Spain. It would stand to reason, since the members of America were all children of American servicemen. Rota, Spain's VQ-2 Naval base is the one known as "Gateway to the Mediterranean." If you ask most comic fans today, they'll pin the origin of Sandman as a fictional comic character to either the Neil Gaiman comic, or one of Marvel Comics' Spiderman's foes (who can literally turn into sand). However, DC Comics had the Sandman years before that, in various forms as superhero rather than villain. The earliest was the delightfully noir and creepy Sandman introduced in Adventure Comics #40, July 1939. This character wore a business suit, a fedora, and a WWI-era gasmask, and fired a gun that shot sleeping gas to incapacitate his enemies. Writer: DEWEY BUNNELL 1972 Ain't it foggy outside All the planes have been grounded Ain't the fire inside? Let's all go stand around it Funny, I've been there And you've been here And we ain't had no time to drink that beer 'Cause I understand you've been running from the man That goes by the name of the Sandman He flies the sky like an eagle in the eye Of a hurricane that's abandoned Ain't the years gone by fast I suppose you have missed them Oh, I almost forgot to ask Did you hear of my enlistment? Funny, I've been there And you've been here And we ain't had no time to drink that beer 'Cause I understand you've been running from the man That goes by the name of the Sandman He flies the sky like an eagle in the eye Of a hurricane that's abandoned I understand you've been running from the man That goes by the name of the Sandman He flies the sky like an eagle in the eye Of a hurricane that's abandoned I understand you've been running from the man That goes by the name of the Sandman He flies the sky like an eagle in the eye Of a hurricane that's abandoned I understand you've been running from the man That goes by the name of the Sandman He flies the sky like an eagle in the eye Of a hurricane that's abandoned

Huginn and Muninn In Norse mythology, Huginn (Old Norse: "thought"[1]) and Muninn (Old Norse "memory"[2] or "mind"[3]) are a pair of ravens that fly all over the world, Midgard, and bring information to the god Odin. Huginn and Muninn are attested in the Poetic Edda. In the Poetic Edda, a disguised Odin expresses that he fears that they may not return from their daily flights. The Prose Edda explains that Odin is referred to as Hrafnaguð ("raven-god") due to his association with Huginn and Muninn. In the Prose Edda and the Third Grammatical Treatise, the two ravens are described as perching on Odin's shoulders. Heimskringla details that Odin gave Huginn and Muninn the ability to speak. O'er Mithgarth Hugin and Munin both Each day set forth to fly; For Hugin I fear lest he come not home, But for Munin my care is more. Gylfaginning (chapter 38), the enthroned figure of High tells Gangleri (king Gylfi in disguise) that two ravens named Huginn and Muninn sit on Odin's shoulders. The ravens tell Odin everything they see and hear. Odin sends Huginn and Muninn out at dawn, and the birds fly all over Mithgarth before returning at dinner-time. As a result, Odin is kept informed of many events. It is from this association that Odin is referred to as "raven-god". The above-mentioned stanza from Grímnismál is then quoted. In the Heimskringla book Ynglinga saga, a euhemerized account of the life of Odin is provided. Chapter 7 describes that Odin had two ravens, and upon these ravens he bestowed the gift of speech. These ravens flew all over the land and brought him information, causing Odin to become "very wise in his lore." In the Third Grammatical Treatise an anonymous verse is recorded that mentions the ravens flying from Odin's shoulders; Huginn seeking hanged men, and Muninn slain bodies. The verse reads: Two ravens flew from Hnikar’s [Óðinn’s] shoulders; Huginn to the hanged and Muninn to the slain. Safe European Home The Clash Give 'Em Enough Rope is the second studio album by the English punk rock band the Clash, released on 10 November 1978 through CBS Records. It was their first album released in the United States, preceding the US version of the self-titled studio album. Side One Song One "Safe European Home" The meaning behind this song is made clear by a story The Clash have told about a writing trip to Jamaica gone wrong. Singer Joe Strummer and guitarist Mick Jones were sent to Jamaica for two weeks in December 1977 to write songs for their upcoming second album, which would become Give 'Em Enough Rope. The experience wasn't as positive as they'd have liked: "We must've looked like a strange pair to the locals... I'm surprised we weren't filleted and served on a plate of chips" noted Jones. "We went down to the docks and I think we only survived because they mistook us for sailors." This feeling of alienation and struggling to stay alive in a very hostile environment far from home is evident in the lyrics, most obviously in the chorus ("I went to the place where every white face is an invitation to robbery"). The song also includes a reference to the Sheraton hotel in Kingston and the pair's regular trips to the cinema to watch the movie The Harder They Come ("Whoa, the harder they come, n' the home of ol' bluebeat"). Add in to this mix bassist Paul Simonon, who as the guy in the band most into reggae music, was furious that he wasn't invited out to Jamaica with the others. Even in the Westway to the World documentary, made over 20 years after the event, he still seems angry, stating: "yeah, that pissed me off." It was during the sessions to record "Safe European Home" that drummer Topper Headon gained the nickname "The Human Drum Machine." "(Producer) Sandy Pearlman called me The Human Drum Machine because I didn't make any mistakes on the album. It was a buzz to get a producer who got such a great drum sound" said Headon. Singer Joe Strummer's improvised scat lines at the end of this track would later provide the title to a song on the follow-up album London Calling - the song being "Rudie Can't Fail". An explosively punchy old-fashioned Punk Rock song, "Safe European Home" was always a live favorite for the band, even when they clearly weren't just sitting at home in Europe hating the world later in their careers. In 1978 it was a punchy opening song, and then with the writing of "London Calling" it was shifted down the setlist but remained an ever-present. Strummer would also often play the song with his solo band the Mescaleros. Safe European Home The Clash Written by: Topper Headon, Mick Jones, Paul Simonon, Joe Strummer Album: Give 'Em Enough Rope Released: 1978 Well, I just got back an? I wish I never leave now (Where? d you go?) Who that Martian arrival at the airport, yeah? (Where? d you go?) How many local dollars for a local anesthetic? (Where? d you go?) The Johnny on the corner was very sympathetic (Where? d you go?) I went to the place where every white face Is an invitation to robbery An? sitting here in my safe European home Don? t wanna go back there again Wasn? t I lucky, wouldn? t it be lovely? (Where? d you go?) Send us all cards and have a lay in on Sunday (Where? d you go?) I was there for two weeks, so how come I never tell now (Where? d you go?) That natty dread drinks at the Sheraton Hotel, yeah? (Where? d you go?) I went to the place where every white face Is an invitation to robbery An? sitting here in my safe European home Don? t wanna go back there again Ah-ah, ah-ah, ah-ah They got the sun and they got the palm tress (Where? d you go?) They got the weed and they got the taxies (Where? d you go?) Whoa, the harder they come and the home of ol? Bluebeat (Where? d you go?) I? d stay and be a tourist but can? t take the gun play (Where? d you?) I went to the place where every white face Is an invitation to robbery An? sitting here in my safe European home Don? t wanna go back there again What? Rudie come from Jamaica, Rudie can? t fail Rudie come from Jamaica, Rudie can? t fail Rudie come from Jamaica, 'cause Rudie can? t fail Rudie come From Jamaica, Rudie can't fail Rudie, Rudie, Rudie, Rudie, Rudie, Rudie, Rudie can? t fail Rudie, Rudie, Rudie, Rudie, Rudie, Rudie, Rudie can? t fail A-Rudie loot and a-Rudie shoot and a-Rudie come up then back down Rudie, Rudie, Rudie, Rudie, Rudie, Rudie, come up then back down Rudie, Rudie, Rudie, Rudie, Rudie, Rudie, Rudie can? t fail Rudie, Rudie, Rudie, Rudie, Rudie, Rudie, Rudie he can? t fail Nice guy European home Explosive European home And twenty-four Track European home [Incomprehensible]

A foretelling that is part of the events of Ragnarök, after Fenrir's son Sköll has swallowed the sun and his other son Hati Hróðvitnisson has swallowed the moon, the stars will disappear from the sky. The earth will shake violently, trees will be uprooted, mountains will fall, and all binds will snap – Fenrisúlfr will be free. Fenrisúlfr will go forth with his mouth opened wide, his upper jaw touching the sky and his lower jaw the earth, and flames will burn from his eyes and nostrils. Later, Fenrisúlfr will arrive at the field Vígríðr with his sibling Jörmungandr. With the forces assembled there, an immense battle will take place. During this, Odin will ride to fight Fenrisúlfr. During the battle, Fenrisúlfr will eventually swallow Odin, killing him, and Odin's son Víðarr will move forward and kick one foot into the lower jaw of the wolf. This foot will bear a legendary shoe "for which the material has been collected throughout all time". With one hand, Víðarr will take hold of the wolf's upper jaw and tear apart his mouth, killing Fenrisúlfr. Sooner will the bonds of Fenrir snap than as good a king as Haakon shall stand in his place: Unfettered will fare the Fenris Wolf and ravaged the realm of men, ere that cometh a kingly prince as good, to stand in his stead. My God Jethro Tull Written by: Ian Scott Anderson Album: Aqualung Released: 1971 People what have you done? Locked Him in His golden cage Golden cage Made Him bend to your religion Him resurrected from the grave From the grave He is the God of nothing If that's all that you can see You are the God of everything He's inside you and me So lean upon Him gently And don't call on Him to save You from your social graces And the sins you used to waive The bloody Church of England In chains of history Requests your earthly presence At the vicarage for tea And the graven image You know who With his plastic crucifix He's got Him fixed Confuses me as to who and where and why As to how he gets his kicks He gets his kicks Confessing to the endless sin With endless whining sounds You'll be praying 'til next Thursday To all the gods that you can count Hymn 43 Songwriter Ian Anderson described the song as "a blues for Jesus, about the gory, glory seekers who use his name as an excuse for a lot of unsavoury things. You know, 'Hey Dad, it's not my fault — the missionaries lied.'" Sean Murphy of PopMatters wrote that, "For “Hymn 43” Anderson sets his sights on the US and in quick order sets about decimating the hypocrisy and myth-making of religion and the new religion, entertainment." Morse/Portnoy/George released this as their third single off their 2020 album Cov3r to Cov3r on July 10, 2020. A version by Alabama Thunderpussy was included on the compilation album, Sucking the 70's. The song was later included in the video game Rock Band 2 as downloadable content. Hymn 43 Jethro Tull Written by: Ian Anderson Album: Aqualung Released: 1971 Our Father high in heaven, smile down upon your son Who is busy with his money games - his women and his gun Oh Jesus save me And the unsung western hero, he killed an Indian or three And then he made his name in Hollywood to set the white man free Oh Jesus save me If Jesus saves, well he better save himself From the gory glory seekers who use his name in death Oh Jesus save me If Jesus saves, well he better save himself From the gory glory seekers who use his name in death Oh Jesus save me Well I saw him in the city, and on the mountains of the moon His cross was rather bloody, and he could hardly roll his stone Oh Jesus save me

Gonna Make You Sweat is the debut studio album by American musical production group C+C Music Factory, released in the US on December 18, 1990. Following on the success of contemporaries Black Box and Technotronic, Gonna Make You Sweat was a worldwide smash, reaching number two on the US Billboard 200. "Gonna Make You Sweat (Everybody Dance Now)" by C+C Music Factory, released in late 1990 as the debut and lead single from their first album, Gonna Make You Sweat (1990). The song is sung by singer Martha Wash and rapper Freedom Williams. It charted internationally and achieved great success in the United States, Austria, Germany, and Sweden, where it reached number one on the charts. Robert Clivillés wrote and produced an instrumental track that was to become "Gonna Make You Sweat". He offered the track to vocal trio Trilogy, but when they declined to record it, Clivillés decided to use the track for his and David Cole's C+C Music Factory. The rap verse was performed by Freedom Williams and the female vocals by Martha Wash. The music video showed model-turned-singer Zelma Davis lip-syncing to Wash's vocal parts. After discovering that the group was using Davis in the music video, Wash (who does not appear in the video) unsuccessfully attempted to negotiate with the producers of the C+C Music Factory for sleeve credits and royalties. Additionally, the song used an edited compilation of vocal parts that Wash recorded in June 1990 for an unrelated demonstration tape. On December 11, 1991, Wash filed a lawsuit in the Los Angeles Superior Court against C+C Music Factory's Robert Clivillés and David Cole, charging the producers and their record company, Sony Music Entertainment, with fraud, deceptive packaging, and commercial appropriation. The case was eventually settled in 1994, and as a result of the settlement, Sony made an unprecedented request of MTV to add a disclaimer that credited Wash for vocals and Davis for "visualization" to the "Gonna Make You Sweat" music video. Having previously worked with David Cole doing some demos in the past, Martha Wash recorded her vocals for "Gonna Make You Sweat" as a demo song. She was told that it was for another artist. Only Robert Clivillés was present in the studio during recording. Wash had to phone Cole for instructions on how to sing, before recording her vocals. She stated in 2017: "I remember thinking as I was singing the hook of the song that it was set so high, it was like I was reaching for the ceiling trying to hit the notes. "Damn, this is high," I was thinking, basically screaming at the top of my lungs. I don't know what happened to the vocalist who they had originally in mind to actually sing the song or why they didn't use her version." "Gonna Make You Sweat (Everybody Dance Now)" was reworked by French DJ Bob Sinclar in his 2006 song "Rock This Party (Everybody Dance Now)", which became a hit in many countries including the UK, Finland and France where it reached number 3 and in Belgium where it topped both the Ultratop 50 Flanders and Wallonia charts. Russian group Little Big covered the track for the soundtrack of the film Borat Subsequent Moviefilm, and it can be heard in some of the trailers, and is featured in full during the closing credits. In Da Ali G Show, this was Borat's favorite song.

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

Captain Harlock (キャプテン・ハーロック, Kyaputen Hārokku, also known as "Captain Herlock" in the English release of Endless Odyssey and some Japanese materials) is a fictional character and protagonist of the Space Pirate Captain Harlock manga series created by Leiji Matsumoto. Harlock is the archetypical Romantic hero, a space pirate with an individualist philosophy of life. He is as noble as he is taciturn, rebellious, stoically fighting against totalitarian regimes, whether they be Earth-born or alien. In his own words, he "fight[s] for no one's sake... only for something deep in [his] heart." He does not fear death, and is sometimes seen wearing clothing with the number 42 on it. In Japanese culture, the number 42 is associated with death (the numbers, pronounced separately as "four two," sound like the word "shini"—meaning "dying/death"). The character was created by Leiji Matsumoto in 1977 and popularized in the 1978 television series Space Pirate Captain Harlock. Since then, the character has appeared in numerous animated television series and films, the latest of which is 2013's Space Pirate Captain Harlock. Though there are slight variations in each telling of Harlock's story, the essentials remain the same. Matsumoto presents a future (2977 AD) in which the Earth has achieved a vast starfaring civilization, but is slowly and steadily succumbing to ennui or despair, often due to defeat and subjugation by a foreign invader. Rising against the general apathy, Harlock denies defeat and leads an outlaw crew aboard his starship Arcadia to undertake daring raids against Earth's oppressors. Even though they have defeated Earth and devastated its peoples, the invaders are often presented in a sympathetic light, being shown as having some justification for their actions. "Come Sail Away" is a song by the American Band Styx, written and sung by singer and songwriter Dennis DeYoung and featured on the band's seventh album The Grand Illusion (1977). Upon its release as the lead single from the album, "Come Sail Away" peaked at #8 in January 1978 on the Billboard Hot 100, and helped The Grand Illusion achieve multi-platinum sales in 1978. It is one of the biggest hits of Styx's career. Lyrically, the song uses sailing as a metaphor to achieve one's dreams. The lyrics touch on nostalgia of "childhood friends," escapism, and a religious thematic symbolized by "a gathering of angels" singing "a song of hope." The ending lyrics explain a transition from a sailing ship into a starship, by narrating that "they climbed aboard their starship and headed for the skies". DeYoung revealed on In the Studio with Redbeard (which devoted an entire episode to the making of The Grand Illusion), that he was depressed when he wrote the track after Styx's first two A&M offerings, Equinox and Crystal Ball, sold fewer units than expected after the success of the single "Lady". Musically, "Come Sail Away" combines a plaintive, ballad-like opening section (including piano and synthesizer interludes) with a bombastic, guitar-heavy second half. In the middle of the second half of the album version is a minute-long synthesizer-heavy instrumental break. Although the song hit its chart peak in 1978, "Come Sail Away" has had tremendous longevity in popular culture. It was arguably as popular in the 1980s (and in subsequent decades) as it was when released in the late 1970s. The song appears on trailers and TV spots for the films Atlantis: The Lost Empire, The Wild, and Big Daddy. It also appeared as a cover by "The Trophy Fire" in the 2012 movie Nitro Circus: The Movie, and in the 2017 animated movie My Little Pony: The Movie. In the 2018 Netflix release Like Father the song is the choice of the main characters Rachel and Harry for their winning performance in the cruise karaoke championship. In the 2019 film, Stuber, the song is used during an action sequence later on in the film. It is referenced earlier in the film as well. The song was used in the homecoming dance scene of The Virgin Suicides. The song appears as a plot point to the South Park episode "Cartman's Mom Is Still a Dirty Slut." If Eric Cartman hears any portion of the song, he feels a compulsion to sing the rest of it. On Chef Aid: The South Park Album, he does a cover of the song. The song scored the end of the pilot episode of Freaks and Geeks, in which Sam Weir summons the courage to ask a popular girl to slow dance. Though she agrees, the guitar-heavy second half kicks in before they can start slow dancing as originally intended. A version of the song performed by Aimee Mann is used in the TV show Community in the Season 5 episode "Geothermal Escapism" for the nautical departure of Donald Glover's Troy Barnes. In the first season, he'd confessed to crying upon hearing the original version of the song. The song also appears in ER's season 7, episode 19 ("Sailing Away"), where Dr. Greene sings along. In Generation Kill several of the Marines sing the chorus as they travel. The song is parodied as "Please Say You'll Stay" in the Fish Hooks episode "Labor of Love". The song was featured in The Goldbergs season 1, episode 2 ("Daddy Daughter Day"). The song again appears in season 5, episode 4 ("Revenge o' the Nerds"), sung by Erica Goldberg at a Revenge of the Nerds-style musical finale. The song is performed by the New Directions on an episode of the television show Glee (Season 6, Episode 11). The song is performed as part of a Broadway musical in Mozart in the Jungle's first episode. Hailey plays the oboe section of the piece along with Cynthia at the cello. (Season 1, Episode 1) In the Modern Family episode "Spring-a-Ding-Fling," a parody of the song is sung by realtor Phil Dunphy, played by Ty Burrell. The song is performed by actress Olivia Holt in the season-one finale of Cloak & Dagger (episode 10). The song was featured in the end credits of the Family Guy episode "Carny Knowledge". Me First and the Gimme Gimmes released a cover on their album Ruin Jonny's Bar Mitzvah, which was featured in commercials for season 3 of the Discovery Channel's Deadliest Catch in 2005. Patty Pravo covered it as "Dai Sali Su" on her 1978 album Miss Italia.

The Blue Stones are a Canadian blues rock duo based in Windsor, Ontario. In August 2018, The Blue Stones signed a record contract with Entertainment One, where they subsequently announced plans to re-release their debut LP Black Holes on October 26, 2018. They subsequently toured the US with their Be My Fire Tour. In early January 2020, The Blue Stones were nominated for the 2020 Juno Award in the category of Breakthrough Group of the Year. One by One The Blue Stones One by One The Blue Stones Written by: Paul Meany, Justin Tessier, Tarek Jafar Album: Hidden Gems Released: 2021 Feel my face hit the floor Cold hardwood stings But you pick me up Hold my hand, show me love Fill my lungs oh never good enough Free my mind, clear my head motionless, fall to oblivion Cell by cell, thread by thread every piece breaks into millions Breaks into millions I been losing touch Yeah I'm breaking up One by one These threads I've held They come undone One by one One by one And I'm out of oxygen Never thought you'd do me in But I've bit my tongue too long to hide the blood I'm covered in I can't explain it What you do You take a hold of every truth I'm an addict at your altar Hear the prayers I make to you Every message that you sends got me breakin' rules again Make me swim, watch me drown Pull me in, down down down I been losing touch Yeah I'm breaking up One by one These threads I've held They come undone One by one One by one One by one Make me swim, watch me drown Pull me in, down down down Make me swim, watch me drown Pull me in, down down down Make me swim, watch me drown Pull me in, down down down I been losing touch Yeah I'm breaking up One by one These threads I've held They come undone One by one One by one One by one One by one One by one

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

"Lunatic Fringe" is a song by the Canadian rock band Red Rider from their 1981 album, As Far as Siam. The song's widespread influence inspired Cincinnati's rock radio station WEBN to pay homage to it with the station's early slogan "WEBN, The Lunatic Fringe" introduced in 1984. Then in 1988, this slogan was updated to "The Lunatic Fringe Of American FM", which is still in use as of March 2023. The song was used in the opening scene of Miami Vice Episode 1.15, "Smuggler's Blues" which aired on February 1, 1985; the 1985 movie Vision Quest about a high school wrestler starring Matthew Modine; in the Season 3, Episode 1 closing credits for the HBO series Eastbound & Down; and in the Season 2, episode 6 closing credits for the Netflix series Mindhunter. In 2009, the song was ranked No. 82 on VH1's 100 greatest one-hit wonders of the 1980s. Lunatic Fringe Red Rider Written by: Thomas William Cochrane Album: As Far As Siam Released: 1981 Lunatic fringe I know you're out there You're in hiding, and you hold your meetings I can hear you coming I know what you're after We're wise to you this time (wise to you this time) We won't let you kill the laughter Woah-uh-huh Woah-uh-huh Woah-uh-huh Lunatic fringe In the twilight's last gleaming This is open season But you won't get too far 'Cause you got to blame someone For your own confusion We're on guard this time (on guard this time) Against your Final Solution Oh no Woah-uh-huh Woah-uh-huh Woah-uh-huh We can hear you coming (we can hear you coming) No, you're not going to win this time (You're not gonna win) We can hear the footsteps (we can hear the footsteps) Out along the walkway (out along the walkway) Lunatic fringe We all know you're out there Can you feel the resistance? Can you feel the thunder? Oh no Hey-ey-ey

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

1996–1999: Early days Drive-By Truckers was cofounded by Patterson Hood (son of bassist David Hood of the Muscle Shoals Rhythm Section) and longtime friend, former roommate, and musical partner Mike Cooley in Athens, Georgia, in 1996. The two had played in various other bands including Adam's House Cat, which was chosen as a top-10 Best Unsigned Band by a Musician contest in the late 1980s. Adam's House Cat recordings, entitled Town Burned Down were released in September 2018 via ATO Records. After the demise of Adam's House Cat, Cooley and Hood performed as a duo under the name Virgil Kane. They eventually started a new band, Horsepussy, with bassist-vocalist Adam Howell (later to join DBT) and Aaron Bryant (brother of DBT webmaster Jenn Bryant) before splitting for a few years. During this split, Hood moved to Athens and began forming what would become Drive-By Truckers, "with the intent of luring Cooley back into the fold". The band's original lineup was fluid, but it most often included Hood, Cooley, and Howell, along with drummer Matt Lane, pedal steel player John Neff, and mandolin player Barry Sell. They released their first album Gangstabilly in 1998. With Hood and Cooley sometimes playing mandolin and banjo instead of guitar, and Howell playing double bass. After recording their first album, the band added a third guitarist/vocalist, Rob Malone. By the second album, Pizza Deliverance, released in 1999, Howell had left, Malone switched to bass, and Sell had left the band. Neff was also listed as a guest rather than a member, although he plays on much of the album. Hood dominated the songwriting and lead vocals in these early records, but Cooley, Howell, and Malone also contributed songs, with Cooley's songwriting share increasing notably by the second album. Drive-By Truckers Lyrics "Nine Bullets" Written by Patterson Hood 1999 Pizza Deliverance My roommate's gun got nine bullets in it Nine bullets in my roommate's gun My roommate's gun got nine bullets in it Gonna find a use for every last one One for the love who chose to betray me, a real fine love who wouldn't be true One for the man that she betrayed with, a nice enough fella, she'll betray him too A nice enough fella, she'll betray him too One for my boss man, riding my butt again, sorry sir, but you'd better clock out One for the lady down at the laundrymat, who goes threw my dryer pulling one sock out She goes threw my dryer pulling one sock out One just to put me out of my misery I better aim that sucker true I'll leave a note that says I'm sorry but I went off the deep end when I fell for you I went off the deep end when I fell for you One each for my immediate family, they'll be so disappointed to see what I done One left over, I'll save it for my roommate After all it's my roommate's gun After all it's my roommate's gun My roommate's gun got nine bullets in it Nine bullets in my roommate's gun Roommate's gun got nine bullets in it Gonna find a use for every last one Gonna find a use for every last one Gonna find a use for every last one

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

1941 is a 1979 American comedy film directed by Steven Spielberg and written by Robert Zemeckis and Bob Gale. THESE ARE THE VERY PEOPLE RESPONSIBLE FOR MANY FILM BASED CONSPIRACIES! The film stars an ensemble cast including Dan Aykroyd, Ned Beatty, John Belushi, John Candy, Christopher Lee, Tim Matheson, Toshiro Mifune, Robert Stack, Nancy Allen, and Mickey Rourke in his film debut. The story involves a panic in the Los Angeles area after the December 1941 attack on Pearl Harbor. Co-writer Gale stated the plot is loosely based on what has come to be known as the Great Los Angeles Air Raid of 1942, as well as the bombardment of the Ellwood oil refinery, near Santa Barbara, by a Japanese submarine. Many other events in the film were based on real incidents, including the Zoot Suit Riots and an incident in which the U.S. Army placed an anti-aircraft gun in a homeowner's yard on the Maine coast. The film received heavily mixed reviews from critics with criticism towards the script, pacing and humor but praise towards the visual effects, sound, production design, John Williams's score and cinematography. Although 1941 was not as financially nor critically successful as many of Spielberg's other films, the film was still a box office success and it received belated popularity after an expanded version aired on ABC, with subsequent television broadcasts and home video reissues, raising it to cult status. On Saturday, December 13, 1941, at 7:01 a.m. (six days after the attack on Pearl Harbor), an Imperial Japanese Navy submarine, commanded by Akiro Mitamura and carrying Kriegsmarine officer Wolfgang von Kleinschmidt, surfaces off the Californian coast. Wanting to destroy something "honorable" in Los Angeles, Mitamura decides to target Hollywood. Later that same morning, a 10th Armored Division M3 Lee tank crew, consisting of Sergeant Frank Tree, Corporal Chuck Sitarski, and Privates Foley, Reese, and Henshaw, are having breakfast at a cafe in Los Angeles where dishwasher Wally Stephens and his friend Dennis DeSoto work. Wally is planning to enter a dance contest at a club that evening with his girlfriend, Betty Douglas. Sitarski, who has an extremely short temper, instantly dislikes Wally and trips him, causing a fight and leaving Wally humiliated. In Death Valley, United States Army Air Forces Captain Wild Bill Kelso lands his Curtiss P-40 Warhawk fighter at a roadside store and gas station, which he accidentally blows up. Meanwhile, in Los Angeles, Major General Joseph W. Stilwell attempts to calm the public, who believe Japan will attack California. During a press conference at Daugherty Field in Long Beach, Captain Loomis Birkhead, Stilwell's aide, meets his old flame Donna Stratton, who is General Stilwell's new secretary. Aware that Donna is sexually aroused by airplanes, Birkhead lures her into the cockpit of a B-17 bomber to seduce her. When his attempt fails, Donna punches him; as he falls, Birkhead accidentally releases a bomb, which rolls against the conference's grandstand and explodes, though Stilwell and the crowd escape unhurt. At the Santa Monica oceanside home of her father Ward Douglas and his wife Joan, Betty and her friend Maxine Dexheimer, who have just become USO hostesses, tell Wally that they are only allowed to dance with servicemen as they are now the only male patrons allowed in the club. Wally hides in the garage when Ward, who disapproves of him, appears. Sgt. Tree and his crew arrive and inform Ward and Joan that the army wants to install an anti-aircraft battery in their yard. Sitarski begins flirting with Betty, and Wally falls from the loft where he was hiding. Wally and Sitarski recognize each other from the cafe, and the Sgt. Tree’s crew dumps Wally into a passing garbage truck after ejecting him from the premises. Meanwhile, the Japanese submarine has become lost trying to find Los Angeles after their compass malfunctions. A landing party goes ashore and captures lumberjack Hollis "Holly" Wood. Aboard the sub, Hollis is searched and the crew is excited to find a small toy compass, which Hollis swallows. After the crew attempts to make Hollis excrete the compass by forcing him to drink prune juice, he escapes from the submarine. Ward's neighbor, Angelo Scioli of the Ground Observer Corps, installs Claude and Herb in the Ferris wheel at the Ocean Front Amusement Park to scout for enemy aircraft. Determined to get Donna into an airplane, Birkhead drives her to the 501st Bomb Disbursement Unit in Barstow, where the mentally unstable Colonel "Mad Man" Maddox lets them borrow a plane. Donna, aroused from finally being in an airplane, begins to ravish Birkhead during the flight. At the USO club, Sitarski drags Betty into the dance. Wally sneaks in and reunites with Betty. They win the dance contest, and the short-tempered Sitarski punches Wally, setting off a brawl between soldiers, sailors and zoot suiters which spills into the street and becomes a riot. Sgt. Tree and his crew break up the melee, just before L.A. goes on high alert when Birkhead and Donna fly over the city and anti-aircraft batteries open fire on them. Kelso pursues and shoots it down, causing it to land into the La Brea Tar Pits. Claude and Herb shoot down the passing P-40 after mistaking it for a Japanese Zero; Kelso crashlands in the city, where he informs the military authorities about the Japanese sub he spotted at the pier. Wally is put in command of the tank after Tree is accidentally incapacitated, and rescues Betty while Sitarski is accosting her. After Kelso's alert, Wally, Betty, Dennis and the tankers set off for the pier, followed by Kelso on a motorcycle. At the Douglas' home, Ward spots the surfaced submarine and begins firing the anti-aircraft gun at it, wrecking his whole house in the process. The sub returns fire, hitting the Ferris wheel, which rolls into the ocean. When von Kleinschmidt tries to force the sub to retreat early, Mitamura throws him overboard. The tank arrives and then sinks when the submarine torpedoes the pier. Kelso jumps off the pier and swims to the submarine, where he is captured by the Japanese. The next morning, Stilwell and soldiers arrive at the remains of the Douglas home, where the other protagonists have gathered. Ward vows that their Christmas will not be ruined by the enemy; to symbolize his point, he nails a Christmas wreath to his front door, causing his unstable house to collapse down the hillside. Stilwell, observing the disheveled crowd arguing, tells Sgt. Tree, "It's going to be a long war." Breakfast In America Supertramp Written by: Richard Davies, Roger Hodgson Album: Breakfast In America Released: 1979 Take a look at my girlfriend She's the only one I got Not much of a girlfriend I've never seem to get a lot Take a jumbo across the water Like to see America See the girls in California I'm hopin', it's going to come true But there's not a lot, I can do Could we have kippers for breakfast Mummy dear, Mummy dear They got to have 'em in Texas 'Cos everyone's a millionaire I'm a winner, I'm a sinner Do you want my autograph I'm a loser, what a joker I'm playing my jokes upon you While there's nothin' better to do Hey Papararam pano daram no no no Papararam pano daram no no no Na na na nana na na na Don't you look at my girlfriend (Girlfriend) She's the only one I got Not much of a girlfriend (Girlfriend) I've never seem to get a lot (What she got in another land) Take a jumbo cross the water Like to see America See the girls in California I'm hoping it's going to come true But there's not a lot I can do Hey Papararam pano daram no no no Papararam pano daram no no no Hey aham Hey aham Hey aham Hey aham Hey aham Hey aham Hey aham Hey aham Na na na nana na na na

Today's Crop Dusting 07122023

Ted Nugent makes a cogent argument in this song about the need to respect animals to ensure their survival. He explains how Native Americans used every part of the animals they killed, and buffalo thrived. When the white man came, he killed buffalo for profit, which dwindled their population. In this song, the great white buffalo is the hero, appearing to lead his herd. The lyric reflects Nugent's reverence for nature and Native American culture. "I knew about the Trail Of Tears, I knew about Wounded Knee, I knew about the atrocities of Uncle Sam against the native peoples," he said in an interview. "So the accumulation of information in my life came out in those lyrics, which are more appropriate now than ever." "Great White Buffalo" is a staple of Nugent's live set and one of the songs that helped him pack stadiums in the late '70s when he was one of the top-grossing tour acts, performing over 200 shows a year. A rendition from a 1976 show in Dallas is featured on his album Double Live Gonzo!, which went on to sell over 3 million copies. The original recording appeared on Tooth Fang & Claw, the seventh and final album from Nugent's group The Amboy Dukes (credited to "Ted Nugent and The Amboy Dukes"). Nugent went solo after the album's release and issued a steady stream of albums that sold very well throughout the '70s. As he built up his repertoire with hits like "Stranglehold" and "Cat Scratch Fever," "Great White Buffalo" - ignored for the most part when it was first released - found new life and became a rock radio favorite. Live, "Great White Buffalo" sees Nugent soloing extensively and freely. In 1982, he told biographer Robert Holland that this was one of his favorite (of his own) songs. Nugent says he was often contacted by Native American tribes after this song came out. "They've sweat-lodged me into the Brave Heart Society - I may be the only white guy," he told Songfacts. "They have embraced me and given me eagle-feather war bonnets, thanking me for putting their spiritual legend into a song. To this day, when we play that song - and we do every night - the earth moves." Great White Buffalo Written by: Theodore Nugent Album: Don't Mess With Texas Released: 1977 Well, listen everybody To what I got to say. There's hope for tomorrow, Ooh, we're workin' on today. Well, it happened long ago, In the new magic land The Indian and the buffalo They existed hand in hand The Indian needed food, He needed skins for a roof. But he only took what they needed, baby Millions of buffalo were the proof Yeah, it's all right But then came the white man, With his thick and empty head. He couldnt see past the billfold, He wanted all the buffalo dead. It was sad... It was sad. Oh yeah Yes, indeed Oh, yes It happened a long time ago, baby. In the new magic land. See, the Indian and the buffalo They existed hand in hand The Indians, they needed some food, And some skins for a roof They only took what they needed, baby. Millions of buffalo were the proof, yeah. But then came the white dogs, With their thick and empty heads They couldnt see past the billfold They wanted all the buffalo dead Everything was so sad When I looked above the canyon wall Some strong eyes did I see I think it's somebody comin' around To save my ass, baby I think- I think he's comin' around To save you and me. Boys I said above the canyon wall. Strong eyes did glow It was the leader of the land, baby Oh my God, The great white buffalo! Look out! Look out! Well, he got the battered herd He led 'em 'cross the land With the great white buffalo, They gonna make a final stand The great white buffalo Comin' around to make a final stand. Well, look out here he comes. The great white buffalo, baby. The great white buffalo Look out, here he comes He's doin' all right Makin' everything all right Yeah, yeah, yeah

Blues for Allah. 1975 Garcia “borrowed” the melody for Franklin’s Tower from Lou Reed’s Walk on the Wild Side. Considering how good the result is, we doubt even the famously curmudgeonly Reed grumbled too much. Hunter’s lyrics are as obtuse as ever, but overall, it’s a slice of pure pop magic. A lot of ink has been spilled on the topic of Franklyn’s Tower. I’m guilty myself. But I have found that the most rewarding writing about the song consists of two completely divergent pieces. The first is by Andrew Shalit, and I was happy to be given permission to point to it from my “Franklin’s Tower” page on the Annotated Lyrics website. Written as a mock-scholarly essay entitled “Roll Away the Dew: An Exegesis of Robert Hunter’s ‘Franklin’s Tower’,” the piece goes into wonderful detail describing Ben Franklin’s supposed process for casting bells, involving a process called “dewing” the bell. “Franklin postulated that a process which he called ‘dewing’ could be used to improve the production process of large bells. Dewing basically involves exposing the freshly cast bell to large quantities of steam while the bell is still hot. The steam causes a rapid cooling, producing droplet of 'dew' on the bell. After the dew is formed, the bell is rolled between large cotton sheets. He described this process as ‘rolling away the dew.’ “Unfortunately, Franklin's contemporaries had a very hard time understanding his technology. He showed them sample bells, asking him to simply look at the results without trying to understand the process. This was when he uttered the now famous quote, ‘if you get confused, listen to the music play.’” Worth reading all the way through, definitely. Even more entertaining than the essay itself, perhaps, is the chain of email queries and responses to and from Shalit, in which he continues to develop the ruse. Wonderful! The second piece about the song is by Hunter himself. He wrote it in response to a piece I posted on my site, written by Jurgen Fauth, entitled “The Fractals of Familiarity and Innovation: Robert Hunter and the Grateful Dead concert experience.” In the Fauth essay, the author refers to some of Hunter’s lyrics as lacking in meaning, using the word “nonsensical.” Hunter responded with an essay entitled “Fractures of Unfamiliarity & Circumvention in Pursuit of a Nice Time.” In the essay, Hunter addresses Fauth directly: “Since the concluding remark of your essay stated that the Grateful Dead songs are "meaningless" I choose to reply by explicating one of your examples: "Franklin's Tower." I do this reluctantly because I feel that a straightforward statement of my original intent robs the listener of personal associations and replaces them with my own. I may know where they come from, but I don't know where they've been. My allusions are, admittedly, often not immediately accessible to those whose literary resources are broadly different than my own, but I wouldn't want my listeners' trust to be shaken by an acceptance of the category "meaningless" attached to a bundle of justified signifiers whose sources happen to escape the scope of simplistic reference.” [italics mine.] He then proceeds to give a line-by-line explication of the lyric. To quote from his essay briefly, here is the first verse: In another time's forgotten space your eyes looked through your mother's face Wildflower seed on the sand and stone may the four winds blow you safely home. [You have your mother's eyes, child, the very shape, color and intensity of the eyes that looked through her face so long ago. Borne on the varied winds of chance and change, like a dandelion seed, you may find yourself deposited on barren soil. My wish for you is that the forces that brought you there may sweep you up again and bear you to fertile ground.] "In another time's forgotten space your eyes looked through your mother's face." [Relative immortality of the human species is realized through reproduction. Dominant traits inherited from an ancestor, the lyric suggests, share more than mere similarity with those of the forebear, but are an identity, endlessly reproducible. In other words, when someone says "You have your mother's eyes" they are not speaking in simile nor would it be incorrect to say that "your mother has your eyes," if, in fact, possessiveness is an appropriate term in the context. Poetic license will assume it is, if only for the sake of moving on to the next couplet.]

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