Psychological operations

"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

"Walk Like an Egyptian" is a song recorded by the American band the Bangles. It was released in 1986 as the third single from the album Different Light. It was the band's first number one single, being certified gold by the RIAA, and became Billboard's number-one song of 1987. Liam Sternberg claims he was inspired to create the song while on a ferry crossing the English Channel. When the vessel hit choppy water, passengers stepped carefully and moved their arms awkwardly while struggling to maintain their balance, and that reminded Sternberg of the depiction of human figures in ancient Egyptian tomb paintings. He wrote the words "Walk like an Egyptian" in a notebook. Later, Sternberg looked back in the notebook, and composing the melody with a guitar, he put together an up-tempo song with lyrics about Egyptian hieroglyphs, the Nile River, crocodiles, desert sand, bazaars and hookah pipes and then segued into modern scenes of blond waitresses, school kids and police officers. Sternberg finished a demo version by January 1984 with singer Marti Jones. He offered it to Toni Basil, who turned it down. Lene Lovich recorded the first version of the song, but it went unreleased when she decided to take a break from music to raise her family. David Kahne from Peer Southern Publishing was the producer of Different Light; he received a copy of the demo and liked it, especially Jones's "offhand quality". Kahne took the song to the Bangles, who agreed to record it. He had each member of the group sing the lyrics to determine who would sing each verse; Vicki Peterson, Michael Steele, and Susanna Hoffs sang lead vocals in the final version on the first, second, and third verses, respectively. Kahne disliked Debbi Peterson's leads, so she was relegated to backing vocals, which angered her and caused tension within the group. The situation was exacerbated by the use of a drum machine in place of her drumming, further diminishing her role in the song.[5] She can be seen playing the tambourine during their 1986 performance on The Old Grey Whistle Test.[6] The whistling in the song was played by a machine. "Walk Like an Egyptian" was one of the songs which were claimed to have been banned by Clear Channel following the September 11, 2001 attacks. It was also included in a "list of records to be avoided" drawn up by the BBC during the Gulf War. Walk Like an Egyptian Written by: Liam Hillard Sternberg The Bangles All the old paintings on the tomb They do the sand dance, don't you know If they move too quick (oh way oh) They're falling down like a domino All the bazaar men by the Nile They got the money on a bet Gold crocodiles (oh way oh) They snap their teeth on your cigarette Foreign types with the hookah pipes say Way oh way oh, way oh way oh Walk like an Egyptian The blonde waitresses take their trays They spin around and they cross the floor They've got the moves (oh way oh) You drop your drink Then they bring you more All the school kids so sick of books They like the punk and the metal band When the buzzer rings (oh way oh) They're walking like an Egyptian All the kids in the marketplace say Way oh way oh, way oh way oh Walk like an Egyptian Slide your feet up the street Bend your back Shift your arm, then you pull it back Life is hard you know (oh way oh) So strike a pose on a Cadillac If you wanna find all the cops They're hanging out in the donut shop They sing and dance (oh way oh) They spin the clubs, cruise down the block All the Japanese with their yen The party boys call the Kremlin And the Chinese know (oh way oh) They walk the line like Egyptian All the cops in the donut shop say Way oh way oh, way oh way oh Walk like an Egyptian Walk like an Egyptian

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

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.”

"Triumph" is a song by American hip hop group Wu-Tang Clan, from their 1997 album Wu-Tang Forever. It was released as the lead single from the album in February 1997. The song does not have a chorus, instead, solely consisting of an intro and interlude by Ol' Dirty Bastard and verses from the other eight Wu-Tang members and associate (and future member) Cappadonna. It is the only Wu-Tang song featuring all members. The song received critical acclaim; Inspectah Deck's verse particularly praised as one of the greatest verses in hip hop of all time ("I bomb atomically, Socrates' philosophies and hypotheses / Can't define how I be dropping these mockeries / Lyrically perform armed robbery / Flee with the lottery, possibly they spotted me"). When RZA spoke in a 2005 interview about having the whole clan work together, he said:[3] ...I did 'Triumph' ....radio and video stations was telling me it was too long... ..I had to edit it.. ..I told them... ...take it as is... ..or they won't get nothing, feel me? ...Next thing you know, we did the impossible: We got a 6 minute song on the radio... 6 minutes man, that's serious, its unheard of.. ...a 6 minute video... Intro: Ol' Dirty Bastard First verse: Inspectah Deck Second verse: Method Man Third verse: Cappadonna Interlude: Ol' Dirty Bastard Fourth verse: U-God Fifth verse: RZA Sixth verse: GZA Seventh verse: Masta Killa Eighth verse: Ghostface Killah Ninth verse: Raekwon Triumph Wu-Tang Clan Written by: Lamont Jody Hawkins, Robert Diggs, Dennis Coles, Corey Todd Woods, Darryl Robert Hill, Elgin Evander Turner, Clifford M Smith, Jason S Hunter, Gary E Grice, Russell T Jones What y'all thought y'all wasn't gon' see me? I'm the Osirus of this shit Wu-Tang is here forever - motherfuckers It's like this ninety-seven Aight my niggaz and my niggarettes Let's do it like this I'm a-rub your ass in the moonshine Let's take it back to seventy-nine I bomb atomically, Socrates' philosophies And hypotheses can't define how I be droppin these Mockeries, lyrically perform armed robbery Flee with the lottery, possibly they spotted me Battle-scarred shogun, explosion when my pen hits Tremendous, ultra-violet shine blind forensics I inspect view through the future see millenium Killa Beez sold fifty Gold sixty Platinum Shacklin' the masses with drastic rap tactics Graphic displays melt the steel like blacksmiths Black Wu jackets, Queen Beez ease the guns in Rumble wit' patrolmen tear gas laced the function Heads by the score, take flight, incite a war Chicks hit the floor, diehard fans demand more Behold the bold soldier, control the globe slowly Proceeds to blow swingin swords like Shinobi Stomp grounds and pound footprints in solid rock Wu got it locked, performin' live on you hottest block As the world turn, I spread like germs Bless the globe with the pestilence, da hard-headed never learn It's my testament to those burned Play my position in the game of life standing firm On foreign land, jump the gun out the frying pan, into the fire Transform into the Ghostrider, a six-pack In a streetcar named Desire, who got my back? In the line of fire holdin' back, what? My people if you wit' me where the fuck you at? Niggaz is strapped, and they tryin' a twist my beer cap It's court adjourned for the bad seed, from bad sperm Herb got my wig fried, like a bad perm; what the blood- Clot, we smoke pot and blow spots You wanna think twice, I think not Da Iron Lung ain't got ta tell you where it's coming from Guns of Navarrone, tearin' up your battle zone, rip through your slums (Cappadonna) I twist darts from the heart, tried and true Loot my voice on the LP, my team is on to slang rocks Certified chatterbox, vocabulary 'Donna talking Tell your story walking Take cover kid, what? Run for your brother, kid Run for your team, and your six can't rhyme groupies So I can squeeze with the advantage And get wasted, my deadly notes reigns supreme Your fort is basic Compared to mine Domino effect, arts and crafts Paragraphs contain cyanide Take a free ride On my dart, I got the fashion Catalogues For all y'all to all praise to the Gods The saga continues Wu-Tang, Wu-Tang Olympic torch flamin', we burn so sweet The thrill of victory, the agony, defeat We crush slow, flamin' deluxe slow For-, judgement day cometh, conquer, it's war Allow us to escape, hell glow spinnin' bomb Pocket full of shells out the sky, Golden Arms Tune spit the shit immortal combat sound The fake, false step make, the blood stain the ground A jungle junkie, vigilante tantrum A death kiss, cap off squeeze another anthem Hold it for ransom, tranquilised with anesthetics My orchestra, graceful, music ballerinas My music Sicily, rich California smell An axekiller adventure, paint a picture well I sing a song from Sing-Sing, sippin' on ginseng Righteous wax chaperone, rotating ring-king Watch for the wooden soldiers, C-cypher punks couldn't hold us A thousand men rushing in, not one nigga was sober Perpendicular to the square, we stand bold like flare Escape, from your dragon's lair--in particular My beats travel like a vortex Through your spine to the top of your cerebral cortex Make you feel like you bust a nut from raw sex Enter-through-your-right-ventricle-clog-up your bloodstream High Terminal Like Grand Central Station, program fat baselines on Novation Getting drunk like a fuck I'm duckin five-year probation War of the masses, the outcome, disastrous Many of the victims' families save they ashes A million names on walls, engraved in plaques Those who went back, received penalties for their acts Another heart is torn, as close ones gone Those who stray, niggaz get slayed on the song The track renders helpless and suffers from multiple stab wounds And leaks sounds that's heard Ninety-three million miles away from came one To represent the nation, this is a gathering Of the masses that come to pay respects to the Wu-Tang Clan As we engage in battle The crowd now screams in rage The High Chief Jamel-Ah-Rief takes the stage Light is provided through sparks of energy From the mind that travels in rhyme form Giving sight to the blind The dumb are mostly intrigued by the drum Death only one can save shell from This relentless attack of the track spares none Yo! Yo! Yo, fuck that, look at all these crab niggaz laid back Lampin' like them gray and black Pumas on my man's rack Codeine was forced in your drink, You had a navy dream Salamander fiend, bitches never heard you scream You two-faces, scum of the slum, I got your whole body numb Blowing like Shalamar in eighty-one Sound convincin', thousand dollar court by convention Hands like Sonny Liston, get fly permission Hold tha fuck up, Allah fasten your wig, bad luck I humiliate, separate the English from the Dutch It's me, Black Noble Drew Ali Came in threes We like the Genovese. Is that so? Caesar needs the greens It's Earth, ninety-three million miles from the first Rough turbulence, the waveburst, split the megahertz Aiyyo dat's amazing, gun in your mouth talk, verbal foul hawk Connect thoughts to make my man Shai walk Swift notarizer, Wu-Tang, all up in the high-riser New York gank adviser world tranquilizer Just the dosage, delegate my Clan with explosives While my pen blow lines ferocious Mediterranean, see ya, the number one traffic sit down the beat God Then delegate the God to see God The swift chancellor, flex, the white-gold tarantula Track truck diesel, play the weed God, substantiala Max mostly, undivided then slide it, it's sickening Guaranteed, made em jump like Rod Strickland

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.

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

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]

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

"Riders on the Storm" is a song by American rock band the Doors. It was released in June 1971, as the second single from L.A. Woman, their sixth studio album and the last with lead singer Jim Morrison. The song reached number 14 on the U.S Billboard Hot 100, number 22 on the UK Singles Chart, and number seven in the Netherlands. Written by: Jim Morrison, John Paul Densmore, Robert A Krieger, Raymond D Manzarek "Riders on the Storm" has been classified as a psychedelic rock, jazz rock, art rock song, and a precursor of gothic music. According to guitarist Robby Krieger and keyboardist Ray Manzarek, it was inspired by the country song "(Ghost) Riders in the Sky: A Cowboy Legend", written by Stan Jones and popularized by Vaughn Monroe. The lyrics were written and brought to rehearsal by Morrison, of which a portion of it refers to hitchhiker killer Billy "Cockeyed" Cook, subject of the 1953 film, The Hitch-Hiker. Manzarek noted that some lines express Morrison's love to his companion Pamela Courson. The track is notated in the key of E Minor; the main keyboard riff descends throughout the pitches of Dorian Mode scale, and features a progression of i–IV–i7–IV. It is popularly believed that "Riders on the Storm" is the song that longtime Doors producer Paul A. Rothchild disparaged as "cocktail music", precipitating his departure from the L.A. Woman sessions, which was corroborated by guitarist Robby Krieger. Rothchild himself denied that claim, stating that he actually applied the epithet to "Love Her Madly". Following Rothchild's departure, longtime engineer Bruce Botnick was selected to take over production duties, alongside the Doors themselves. "Riders on the Storm" was recorded at the Doors Workshop in December 1970 with the assistance of Botnick. Later in January 1971, after Morrison had recorded his main vocals, the group gathered at Poppi Studios to complete the mixing of L.A. Woman, at which Morrison then whispered the lyrics over them to create an echo effect. It was the last song recorded by all four members of the Doors, as well as the last song recorded by Morrison to be released in his lifetime. The single was released in June 1971, entering the Billboard Hot 100 the week ending July 3, 1971, the same week Morrison died. Heidegger's influence Speaking with Krieger and Manzarek, the German philosopher Thomas Collmer argued that the line "Into this world we're thrown" recalls philosopher Martin Heidegger's concept of "thrownness"—human existence as a basic state. In 1963, at Florida State University in Tallahassee, Morrison heard a lecture which influenced him, which discussed philosophers who dealt critically with the philosophical tradition, including Friedrich Nietzsche and Heidegger. In 2009, Simon Critchley dedicated his column in The Guardian to Heidegger's thrownness, and explained it using the aforementioned verse of the song. The connection between the thrownness into the world and a dog's life was anticipated by the anti-Heideggerian author Ernst Bloch in his main work The Principle of Hope (1954–1959). Album: L.A. Woman Released: 1971 Riders on the Storm The Doors Riders on the storm Riders on the storm Into this house we're born Into this world we're thrown Like a dog without a bone An actor out on loan Riders on the storm There's a killer on the road His brain is squirmin' like a toad Take a long holiday Let your children play If you give this man a ride Sweet memory will die Killer on the road, yeah Girl, you gotta love your man Girl, you gotta love your man Take him by the hand Make him understand The world on you depends Our life will never end Gotta love your man, yeah Riders on the storm Riders on the storm Into this house we're born Into this world we're thrown Like a dog without a bone An actor out on loan Riders on the storm Riders on the storm Riders on the storm Riders on the storm Riders on the storm

The Sting is a 1973 American caper film set in September 1936, involving a complicated plot by two professional grifters (Paul Newman and Robert Redford) to con a mob boss (Robert Shaw). The film was directed by George Roy Hill, who had directed Newman and Redford in the western Butch Cassidy and the Sundance Kid. Created by screenwriter David S. Ward, the story was inspired by real-life cons perpetrated by brothers Fred and Charley Gondorff and documented by David Maurer in his 1940 book The Big Con: The Story of the Confidence Man. The title phrase refers to the moment when a con artist finishes the "play" and takes the mark's money. If a con is successful, the mark does not realize he has been cheated until the con men are long gone, if at all. The film is played out in distinct sections with old-fashioned title cards drawn by artist Jaroslav "Jerry" Gebr, the lettering and illustrations rendered in a style reminiscent of the Saturday Evening Post. The film is noted for its anachronistic use of ragtime, particularly the melody "The Entertainer" by Scott Joplin, which was adapted (along with others by Joplin) for the film by Marvin Hamlisch (and a top-ten chart single for Hamlisch when released as a single from the film's soundtrack). The film's success created a resurgence of interest in Joplin's work. Released on Christmas Day of 1973, The Sting was a massive critical and commercial success and was hugely successful at the 46th Academy Awards, being nominated for ten Oscars and winning seven, including Best Picture, Best Director, Best Film Editing and Best Writing (Original Screenplay); Redford was also nominated for Best Actor. The film also rekindled Newman's career after a series of big screen flops. Regarded as having one of the best screenplays ever written, in 2005, The Sting was selected for preservation in the U.S. National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant". In 1936, during the Great Depression, Johnny Hooker, a grifter in Joliet, Illinois, cons $11,000 in cash in a pigeon drop from an unsuspecting victim with the aid of his partners Luther Coleman and Joe Erie. Buoyed by the windfall, Luther announces his retirement and advises Hooker to seek out an old friend, Henry Gondorff, in Chicago to learn "the big con". Unfortunately, the reason their victim had so much cash was that he was a numbers racket courier for vicious crime boss Doyle Lonnegan. Corrupt Joliet police Lieutenant William Snyder confronts Hooker, revealing Lonnegan's involvement and demanding part of Hooker's cut. Having already blown his share on a single roulette spin, Hooker pays Snyder in counterfeit bills. Lonnegan's men murder both the courier and Luther, and Hooker flees for his life to Chicago. Hooker finds Gondorff, a once-great con-man now hiding from the FBI, and asks for his help in taking on the dangerous Lonnegan. Gondorff is initially reluctant, but he relents and recruits a core team of experienced con men to dupe Lonnegan. They decide to resurrect an elaborate obsolete scam known as "the wire", using a larger crew of con artists to create a phony off-track betting parlor. Aboard the opulent 20th Century Limited, Gondorff, posing as boorish Chicago bookie Shaw, buys into Lonnegan's private, high-stakes poker game. He infuriates Lonnegan with obnoxious behavior, then out-cheats him to win $15,000. Hooker, posing as Shaw's disgruntled employee Kelly, is sent to collect the winnings and instead convinces Lonnegan that he wants to take over Shaw's operation. Kelly reveals that he has a partner named Les Harmon (actually con man Kid Twist) in the Chicago Western Union office, who will allow them to win bets on horse races by past-posting.

"Live and Let Die" is the theme song of the 1973 James Bond film of the same name, performed by the British–American rock band Wings. Written by English musician Paul McCartney and his wife Linda McCartney, it reunited McCartney with former Beatles producer George Martin, who produced the song and arranged the orchestra. McCartney was contacted to write the song by the film's producers Harry Saltzman and Albert R. Broccoli before the screenplay was finished. Wings recorded "Live and Let Die" during the sessions for Red Rose Speedway in October 1972 at AIR Studios. It was also the first rock song to open a Bond film. Another version by B. J. Arnau also appears in the film. Upon release, "Live and Let Die" was the most successful Bond theme up to that point, reaching No. 1 on two of the three major US charts (though it only reached No. 2 on the Billboard Hot 100) and No. 9 on the UK Singles Chart.[2][3] The song also received positive reviews from music critics and continues to be praised as one of McCartney's best songs. It became the first Bond theme song to be nominated for the Academy Award for Best Original Song, but ultimately lost the award to Barbra Streisand's "The Way We Were". It won the Best Arrangement Accompanying Vocalist(s) at the 16th Annual Grammy Awards in 1974. Wings performed "Live and Let Die" live during their concert tours and McCartney continues to play it on his solo tours, often using pyrotechnics during the instrumental breaks. It has been covered by several bands, including Guns N' Roses, whose version appears on their 1991 album Use Your Illusion I. One of the more popular covers of the song, their version was nominated for the Grammy Award for Best Hard Rock Performance at the 35th Annual Grammy Awards in 1993. In 2012, McCartney was awarded the Million-Air Award from Broadcast Music, Inc. (BMI), for more than 4 million performances of the song in the US. Paul is dead Paul McCartney in 1964 " Paul is dead " is an "urban legend" and conspiracy theory alleging that English musician Paul McCartney of the Beatles died on 9 November 1966 and was secretly replaced by a look-alike. The rumour began circulating in 1967, gaining broad popularity in September 1969 following reports on American college campuses. Live And Let Die Paul McCartney & Wings Written by: אלקיים חגי, McCartney, Paul James, McCartney, Linda Louise When you were young and your heart Was an open book You used to say live and let live (You know you did, you know you did) (You know you did) But if this ever changing world In which we're living Makes you give in and cry Say live and let die (Live and let die) Live and let die (Live and let die) What does it matter to ya When you've got a job to do You gotta do it well You gotta give the other fellow hell You used to say live and let live (You know you did) (You know you did) (You know you did) But if this ever changing world In which we're living Makes you give in and cry Say live and let die (Live and let die) Live and let die (Live and let die)

The Sting is a 1973 American caper film set in September 1936, involving a complicated plot by two professional grifters (Paul Newman and Robert Redford) to con a mob boss (Robert Shaw). The film was directed by George Roy Hill, who had directed Newman and Redford in the western Butch Cassidy and the Sundance Kid. Created by screenwriter David S. Ward, the story was inspired by real-life cons perpetrated by brothers Fred and Charley Gondorff and documented by David Maurer in his 1940 book The Big Con: The Story of the Confidence Man. The title phrase refers to the moment when a con artist finishes the "play" and takes the mark's money. If a con is successful, the mark does not realize he has been cheated until the con men are long gone, if at all. The film is played out in distinct sections with old-fashioned title cards drawn by artist Jaroslav "Jerry" Gebr, the lettering and illustrations rendered in a style reminiscent of the Saturday Evening Post. The film is noted for its anachronistic use of ragtime, particularly the melody "The Entertainer" by Scott Joplin, which was adapted (along with others by Joplin) for the film by Marvin Hamlisch (and a top-ten chart single for Hamlisch when released as a single from the film's soundtrack). The film's success created a resurgence of interest in Joplin's work. Released on Christmas Day of 1973, The Sting was a massive critical and commercial success and was hugely successful at the 46th Academy Awards, being nominated for ten Oscars and winning seven, including Best Picture, Best Director, Best Film Editing and Best Writing (Original Screenplay); Redford was also nominated for Best Actor. The film also rekindled Newman's career after a series of big screen flops. Regarded as having one of the best screenplays ever written, in 2005, The Sting was selected for preservation in the U.S. National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant". In 1936, during the Great Depression, Johnny Hooker, a grifter in Joliet, Illinois, cons $11,000 in cash in a pigeon drop from an unsuspecting victim with the aid of his partners Luther Coleman and Joe Erie. Buoyed by the windfall, Luther announces his retirement and advises Hooker to seek out an old friend, Henry Gondorff, in Chicago to learn "the big con". Unfortunately, the reason their victim had so much cash was that he was a numbers racket courier for vicious crime boss Doyle Lonnegan. Corrupt Joliet police Lieutenant William Snyder confronts Hooker, revealing Lonnegan's involvement and demanding part of Hooker's cut. Having already blown his share on a single roulette spin, Hooker pays Snyder in counterfeit bills. Lonnegan's men murder both the courier and Luther, and Hooker flees for his life to Chicago. Hooker finds Gondorff, a once-great con-man now hiding from the FBI, and asks for his help in taking on the dangerous Lonnegan. Gondorff is initially reluctant, but he relents and recruits a core team of experienced con men to dupe Lonnegan. They decide to resurrect an elaborate obsolete scam known as "the wire", using a larger crew of con artists to create a phony off-track betting parlor. Aboard the opulent 20th Century Limited, Gondorff, posing as boorish Chicago bookie Shaw, buys into Lonnegan's private, high-stakes poker game. He infuriates Lonnegan with obnoxious behavior, then out-cheats him to win $15,000. Hooker, posing as Shaw's disgruntled employee Kelly, is sent to collect the winnings and instead convinces Lonnegan that he wants to take over Shaw's operation. Kelly reveals that he has a partner named Les Harmon (actually con man Kid Twist) in the Chicago Western Union office, who will allow them to win bets on horse races by past-posting.

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

"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.

"Carry On Wayward Son" is a song by American rock band Kansas, released from the band's fourth studio album Leftoverture (1976). Written by guitarist Kerry Livgren, the song became the band's first Top 40 single, reaching No. 11 on the US Billboard Hot 100 in early 1977. The song has since remained a classic rock radio staple and a signature song for the band. While Kansas' previous three albums had split songwriting duties between lead vocalist Steve Walsh and band member Kerry Livgren, the latter essentially provided all the material for the band's fourth album release, Leftoverture. According to Livgren, "On the very first day of rehearsals, Steve...said that he had nothing – not a single song. I don't relish that kind of pressure, but with hindsight it really brought out the best in me." Although based in Atlanta, Kansas had returned to their Topeka, Kansas hometown to work up material for what would be the Leftoverture album, the band rehearsing in a vacant store in a strip mall the material Livgren was working up on a Lowrey organ at the parental home where he was staying. "Carry On Wayward Son" was written after the band had completed rehearsals. Livgren, who perceived the song as being "beamed down" to him in toto, in 2004 stated: "It's an autobiographical song. Parallel to my musical career I've always been on a spiritual sojourn, looking for truth and meaning. It was a song of self-encouragement. I was telling myself to keep on looking and I would find what I sought." Livgren was born again on July 25, 1979, and since 1980 recorded primarily as a Christian rock artist. When it came out, there was nothing like it. [It has] so many musically interesting parts. It wasn't rubber-stamped; it was unique to itself. It's a great sing-along. It had a lot of things going for it. When we recorded it, we knew we had a great song. ...we didn't realize what it would turn into. It's become part of rock-&-roll culture. But then it seemed like a fluke. It was the right song at the right time. Kansas guitarist Rich Williams on the song's impact and enduring appeal Drummer Phil Ehart recalled that Livgren mentioned a new song as Kansas was packing up to leave Topeka for Studio in the Country, the Louisiana facility where Leftoverture was recorded from December 1975, with Livgren presenting "Carry On Wayward Son" to his bandmates only after they had reached the studio. According to Livgren "It was the last night we were in Topeka. I came into the studio on the last day and said, ‘I think you better hear this one’. The guys looked at each other and said, ‘We gotta do this’." In 2004, Ehart recalled, "It was the last, last [song] to be submitted for...'Leftoverture'...I can't even remember if we dropped something else to get [it] on there...[When] we recorded it, we didn't really think it would be a hit [as] it was about six minutes long...We were on the road [in December 1976 when] our manager...said: 'Well, you're not gonna believe this, but we actually have a hit song.' We said, 'What?' He said, 'Yeah. "Carry On Wayward Son" is shooting up the charts.' And it barely made it on the album!" Kansas other guitarist Rich Williams indicated in 2004 that the success of "Carry On Wayward Son" was not a total surprise to the band: "As far as knowing what a hit was, we didn't have any idea. But we knew there was something special about ['Carry On Wayward Son']. It was very easy to listen to but still very different." Steve Walsh – lead vocals, keyboards, organ Robby Steinhardt – backing vocals Kerry Livgren – guitar, piano Rich Williams – acoustic and electric guitar Dave Hope – bass Phil Ehart – drums Written by: Kerry Livgren Carry on my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry no more Once I rose above the noise and confusion Just to get a glimpse beyond this illusion I was soaring ever higher But I flew too high Though my eyes could see, I still was a blind man Though my mind could think, I still was a mad man I hear the voices when I'm dreaming I can hear them say Carry on, my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry no more Masquerading as a man with a reason My charade is the event of the season And if I claim to be a wise man, well It surely means that I don't know On a stormy sea of moving emotion Tossed about, I'm like a ship on the ocean I set a course for winds of fortune But I hear the voices say Carry on, my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry no more No! Carry on, you will always remember Carry on, none can equal the splendor Now your life's no longer empty Surely heaven waits for you Carry on, my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry (Don't you cry no more) No more

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

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.

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

"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"

https://www.pinterest.com/aboxoffrogs/fantasy-art/ Rodney Matthews (born 6 July 1945) is a British illustrator and conceptual designer of fantasy and science-fiction. Trained at the West of England College of Art, Matthews worked in advertising for Plastic Dog Graphics before turning freelance in 1970, initially under the name Skyline Studios. Matthews has painted over 140 subjects for record album covers, for many rock and progressive rock bands. More than 90 of his pictures have been published worldwide, selling in poster format, as well as many international editions of calendars, jigsaw puzzles, postcards, notecards, snowboards and T-shirts. His originals have been exhibited throughout the UK and Europe. He has been a regular exhibitor at the Chris Beetles Gallery, in London's West End, where he met English comedian, actor, writer and producer John Cleese, an avid collector of his work. Matthews has illustrated numerous books, including those by English fantasy and science fiction author Michael Moorcock. Their collaboration in the 1970s resulted in a series of 12 large posters, depicting scenes from Moorcock's Eternal Champion series. These images were also used for a 1978 calendar entitled "Wizardry and Wild Romance". In 1998, Matthews and the late Gerry Anderson completed Lavender Castle, a 26-episode stop-motion CGI animation series for children. It was produced at Cosgrove Hall Films in Manchester and purchased by ITV for the UK. Matthews has also contributed concept designs for the 2005 film The Magic Roundabout. He supplied conceptual designs for computer games such as the Sony/Psygnosis game Shadow Master and Haven: Call of the King, published by Midway. Matthews has produced some publicity and a logo for the green energy company Ecotricity. He has also written lyrics and played drums on a music album influenced by his images; American guitarist Jeff Scheetz, John Payne (Asia) on bass guitar, Oliver Wakeman (Yes) on keyboards and Pete Coleman (composer and multi-instrumentalist). Album covers (including EPs, LPs and DVDs) 1965, Pentworth's People, demo cover 1971, Thin Lizzy, New Day (EP) 1971, Fred Wedlock, The Folker 1971, Ian A. Anderson, A Vulture Is Not a Bird You Can Trust 1971, Pigsty Hill Light Orchestra, Piggery Jokery 1971, Various artists, The Great White Dap (EP) 1972, Amon Düül II, Live in London 1972, Dave Evans, Elephantasia 1972, Hillbilly Jazz, Vol. 1 1972, Hillbilly Jazz, Vol. 2 1972, Hunt & Turner, Magic Landscape 1972, Ian A. Anderson, Singer Sleeps on as Blaze Rages 1972, Various artists (feat. Little Richard, Sam Cooke and more), This Is How It All Began 1973, Al Jones, Jonesville 1973, Art Rosenbaum, Five String Banjo 1973, Bola Sete, Ocean 1973, Captain Lockheed and the Starfighters, Ejection (EP) 1973, Dave Carlsen (feat. Noel Redding, Keith Moon & Spencer Davis), Pale Horse 1973, David Stone & Allan Schiller, Delius 1973, Fred Wedlock, Frollicks 1973, Hamish Imlach, All Round Entertainer 1973, Stefan Grossman, Aunt Molly's Murray Farm 1973, Stefan Grossman, Contemporary Ragtime Guitar 1973, The Dartington String Quartet, Shostakovich 1974, Brinsley Schwarz, Golden Greats 1974, Geoffrey Woodruff, Live (6" LP) 1974, Old Pete, Old Pete (6" LP) 1974, Old Pete, Old Pete's Christmas Story (6" LP) 1974, Various artists, Some People Play Guitar Like a Lotta People Don't! 1975, Halfbreed, Halfbreed 1976, 20th Century Steel Band, Yellow Bird Is Dead 1977, Bo Hansson, Music Inspired by Lord of the Rings 1979, Nazareth, May The Sun Shine (single) 1979, Nazareth, No Mean City 1980, Magnum, Chase the Dragon 1980, Praying Mantis, Praying Mantis (single) 1980, Praying Mantis, Time Tells No Lies 1981, Praying Mantis, Cheated (EP) 1981, Tygers of Pan Tang, Crazy Nights 1982, Bitches Sin, Predator 1982, Diamond Head, Borrowed Time 1982, Eloy, Planets 1982, Eloy, Time to Turn 1982, Scorpions, Lonesome Crow 1983, Magnum, The Eleventh Hour 1984, Eloy, Metromania 1984, Tigermoth, Tigermoth 1985, Magnum, On a Storyteller's Night 1986, Motherlode, The Sanctuary 1987, Diamond Head, Am I Evil 1987, Magnum, Mirador 1988, Magnum, Kingdom of Madness 1988, Magnum, Magnum II 1988, Tigermoth, Howling Moth 1989, Full Moon, Full Moon 1989, Magnum, Foundation 1990, Detritus, Perpetual Defiance 1990, Seventh Angel, The Torment 1991, Praying Mantis, Predator in Disguise 1991, Rick Wakeman, 2000 A.D. Into the Future 1991, Seventh Angel, Lament for the Weary 1991, White Metal Warriors, Last Ship Home 1992, Asia, Aqua 1992, Asia, Who Will Stop the Rain? (single) 1992, Magnum, Only in America (single) 1992, Magnum, Sleepwalking 1992, Rudi Dobson & Rodney Matthews, The House on the Rock 1992, Veni Domine, Fall Babylon Fall 1993, Barclay James Harvest, Caught in the Light 1993, Gethsemane Rose, Tattered 'N' Torn 1993, Magnum, Archive 1993, Magnum, Keeping the Nite Light Burning 1993, Stairway, No Rest: No Mercy 1994, Rodd & Marco, Jurassic Church 1994, Veni Domine, Material Sanctuary 1995, Asia, Arena 1995, Rick Wakeman, The New Gospels 1995, Tradia, Welcome to Paradise 1996, Asia, Archiva Vol. 1 1996, Asia, Archiva Vol. 2 1996, Crucifer, Hellbound Angel 1997, Magnum, Stronghold 1999, Oliver Wakeman & Clive Nolan, Jabberwocky 2000, Doug King, The Snugldorfs 2003, Asia, Different Worlds Live 2003, Asia, Live in Moscow (DVD) 2003, Barclay James Harvest, 25th Anniversary Concert (DVD) 2003, Hawkwind, Welcome to the Future (2CD/DVD Box) 2003, Magnum, A Winter's Tale (DVD) 2003, Squidd, Twice Upon a Time (3 Track CD) 2003, Steve Hackett, Horizons (DVD) 2003, Uriah Heep, Live in the USA (DVD) 2003, Various artists (feat. Fairport Convention, Lindisfarne, The Strawbs and more), Folk Rock Anthology (DVD) 2003, Various artists (feat. Black Sabbath, Deep Purple, Saxon and more), Hard Rock Anthology (DVD) 2003, Various artists (feat. Keith Emerson, Jon Lord, Rick Wakeman and more), Keyboard Wizards (DVD) 2003, Various artists (feat. Lynard Skynyrd, Free, Asia, Magnum and more), Rock Anthems (DVD) 2003, Various artists (feat. Mick Box, Steve Howe, Jan Akkerman, Toni Iommi and more), The Guitar Wizards: Presented By Mick Box (DVD) 2003, Various artists (feat. Uriah Heep, Asia, Nektar and more), The International Classic Rock Festival (DVD) 2003, Various artists (feat. Emerson, Lake & Palmer, Focus, Rick Wakeman and more), The Progressive Rock Anthology (DVD) 2003, Various artists (feat. Caravan, Curved Air, Family and more), The Underground Anthology (DVD) 2004, John Lawton Band, Shakin' the Tale (CD/DVD) 2004, Uriah Heep, Magic Night (CD/DVD) 2005, Russell Allen & Jørn Lande, The Battle 2006, Nazareth, The Very Best of Nazareth 2007, Magnum, Princess Alice and the Broken Arrow 2007, Russell Allen & Jørn Lande, The Revenge 2007, Stormzone, Caught in the Act 2008, Bob Catley, Immortal 2008, Hawkwind, Out of the Shadows (CD/DVD) 2008, Jeff Scheetz, Behind the Mask 2008, Magnum, Wings of Heaven Live 2008, V-Rats, Intelligent Design 2009, Magnum, Into the Valley of the Moon King 2009, Roxxcalibur, NWOBHM For Muthas 2010, Magnum, The Gathering 2010, Russell Allen & Jørn Lande, The Showdown 2010, Stairway, Interregnum 2011, Atkins May Project, Serpent's Kiss 2011, Magnum, The Visitation 2011, Roxxcalibur, Lords of the NWOBHM 2012, Atkins May Project, Valley of Shadows 2012, Frog Riders, Utterly Spontaneous 2012, Geoff Whitely Project, Confidential Whispers 2012, Magnum, On the 13th Day 2012, Tygers of Pan Tang, Ambush 2013, Avantasia, The Mystery of Time 2013, Geoff Whitely Project, Yetoto 2014, Atkins May Project, Empire of Destruction 2014, Jeff Scheetz, Rodney Matthews & Friends, I Saw Three Ships (Single) 2014, Magnum, Escape from the Shadow Garden 2014, Rick Wakeman, Fields of Green 2015, Nazareth, No Means of Escape 2015, Praying Mantis, Legacy 2015, Starquake, Times That Matter 2016, Magnum, Sacred Blood "Divine" Lies 2016, Seeing Red, Keep the Fire Burning 2016, The Rolling Stones, Another Time, Another Place 2017, The Rolling Stones, Time on Our Side 2017, The Rolling Stones, Painted Black 2018, Magnum, Lost on the Road to Eternity 2018, The Dukes of the Orient, The Dukes of the Orient 2018, Praying Mantis, Gravity 2020, Ellesmere, Wyrd 2021, Blind Golem, A Dream of Fantasy

"Werewolves of London" is a rock song performed by American singer-songwriter Warren Zevon. It was composed by Zevon, LeRoy Marinell and Waddy Wachtel and was included on Excitable Boy (1978), Zevon's third solo album. The track featured Fleetwood Mac's Mick Fleetwood and John McVie on drums and bass respectively. The single was released by Asylum Records and was a top 40 US hit, the only one of Zevon's career, reaching No. 21 on the Billboard Hot 100 that May. The song began as a joke by Phil Everly (of The Everly Brothers) to Zevon in 1975, over two years before the recording sessions for Excitable Boy. Everly had watched a television broadcast of the 1935 film Werewolf of London and "suggested to Zevon that he adapt the title for a song and dance craze." Zevon, Marinell and Wachtel played with the idea and wrote the song in about 15 minutes, all contributing lyrics that were transcribed by Zevon's then-wife Crystal. However, none of them took the song seriously. Soon after, Zevon's friend Jackson Browne saw the lyrics and thought "Werewolves of London" had potential and began performing the song during his own live concerts. T Bone Burnett also performed the song, on the first leg of Bob Dylan's Rolling Thunder Revue tour in the autumn of 1975. Burnett's version of the song included alternate or partially improvized lyrics mentioning stars from classical Hollywood cinema, along with mentions of vanished labor leader Jimmy Hoffa, and adult film stars Marilyn Chambers and Linda Lovelace. "Excitable Boy" and "Werewolves of London" were considered for but not included on Zevon's self-titled second album in 1976. According to Wachtel, "Werewolves of London" was "the hardest song to get down in the studio I've ever worked on." However, Wachtel "laid down his solo in one take." They tried at least seven different configurations of musicians in the recording studio before being satisfied with McVie and Fleetwood's contributions. The protracted studio time and musicians' fees led to the song eating up most of the album's budget. A storefront with a large cartoon pig on it Lee Ho Fook in London—the werewolf goes here to get beef chow mein. The song's lyrics "He was looking for the place called Lee Ho Fook's / Gonna get a big dish of beef chow mein" refer to Lee Ho Fook, a Chinese restaurant on 15 Gerrard Street in London's Chinatown, which is in the West End of London. Egon Ronay's Dunlop Guide for 1974 discussed the restaurant and said it served Cantonese cuisine. In concerts, Zevon would often change the line "You better stay away from him, he'll rip your lungs out, Jim / I'd like to meet his tailor", to "And he's looking for James Taylor". Over Zevon's objections, Elektra Records chose "Werewolves of London" as the album's first single (he preferred "Johnny Strikes Up the Band" or "Tenderness on the Block"). Excitable Boy (1978) Werewolves of London Warren Zevon Written by: Waddy Wachtel, Warren Zevon, Leroy Marinell I saw werewolf with a Chinese menu in his hand Walking through the streets of SoHo in the rain He was looking for the place called Lee Ho Fooks For to get a big dish of beef chow mein Ah-hoo, werewolves of London Ah-hoo Ah-hoo, werewolves of London Ah-hoo You hear him howling around your kitchen door You better not let him in Little old lady got mutilated late last night Werewolves of London again Ah-hoo, werewolves of London Ah-hoo Ah-hoo, werewolves of London Ah-hoo, huh He's the hairy handed gent who ran amok in Kent Lately he's been overheard in Mayfair You better stay away from him, he'll rip your lungs out Jim Huh, I'd like to meet his tailor Ah-hoo, werewolves of London Ah-hoo Ah-hoo, werewolves of London Ah-hoo Well, I saw Lon Chaney walking with the Queen Doin' the werewolves of London I saw Lon Chaney Jr. walking with the Queen, uh Doin' the werewolves of London I saw a werewolf drinkin' a piña colada at Trader Vic's His hair was perfect Ah-hoo, werewolves of London Hey draw blood Ah-hoo, werewolves of London

Monster Magnet Space Lord Uncut "Space Lord" is a 1998 single by American rock band Monster Magnet from the album Powertrip. The song is in the key of C minor. It brought them mainstream success, with its accompanying music video directed by Joseph Kahn. The song peaked at number three on the Billboard Mainstream Rock Songs chart, and number twenty-nine on the Billboard Alternative Songs chart. A remixed version of the song was also made, and was featured (along with the original) on their compilation album Greatest Hits. The music video is notable for being the first video ever aired on MTV's Total Request Live on September 14, 1998. It appeared on the countdown five times climbing no higher than the No. 7 position. The line "Space lord, mother fvcker" was truncated and an echo added to make the song more radio- and TV-friendly (the lyric is heard as "Space lord, mother, mother"), but the vocal rhythm is unchanged, and a band version with the original lyric has never been released. The original lyric can be heard uncensored on the "Intergalactic 7 Remix" on international releases of the aforementioned Greatest Hits album and also on the unofficial Boys Noize "Monster Bootnet" remix. Singer Dave Wyndorf told Kerrang, "I'd hurt my knee, and had time off, so spent it in a dominatrix's apartment in New Orleans. Our record company forwarded me press from Europe and in Germany they called me 'Space Lord'. She saw it and took the piss, saying 'So you think you're the space lord?' I said, 'Someday when I can walk. I'll make you pay for taunting me by writing a song.'" Space Lord Monster Magnet Album: Powertrip Released: 1998 I've been stuffed in your pocket For the last 100 days When I don't get my bath I take it out on the slaves So grease up your baby For the ball on the hill And polish them rockets now And swallow those pills And sing, whoa Space Lord, mother fvcker Huh, ah-huh There's a car in the field Now in a column of flame With two doors to choose But only one bears your name You been drinkin' my blood Well, I been lickin' your wounds Well, I'll shave off the pitch now In the scope of your tune You'll sing, whoa Space Lord, mother fvcker Huh, yeah I left my throne a million miles away I drink from your tit, I sing the blues every day Now give me the strength to split the world in two, yeah I ate all the rest and now I gotta eat you Well, I sing Milkin' my nightmares and usin' my name You're strokin' my cortex and you know I'm insane I'm squeezed out in hump-drive and I'm drownin' in love Encompass them all to a position above And sing, whoa Space Lord, mother fvcker Yeah Ahh, yeah Hey-hey-hey I left my throne a million miles away I drink from your tit, I sing the blues every day Now give me the strength to split the world in two, yeah I ate all the rest and now I've gotta eat you Well, I sing (whoa) Space Lord, mother fvcker (Whoa) Space Lord, mother fvcker (Whoa) Space Lord, mother fvcker (Whoa) Space Lord, mother fvcker (Whoa) I lost my soul when I fell to Earth My planets call me to the void of my birth The time has come for me to kill this game Now open wide and say my name (Whoa) Space Lord, mother fvcker (Whoa) Space Lord, mother fvcker (Whoa) Space Lord, mother fvcker...

The Scorpions, No One Like You, Rhythm of Love, Still Loving You, When the Smoke is Going Down Artwork by Boris Vallejo from my pinterest file at https://www.pinterest.com/aboxoffrogs/fantasy-art/ Boris Vallejo (born January 8, 1941) is a Peruvian-American painter who works in the science fiction, fantasy, and erotica genres. His hyper-representational paintings have appeared on the covers of numerous science fiction and fantasy fiction novels. They are also sold through a series of annual calendars. Born in Lima, Peru, Vallejo began painting at the age of 13, in 1954, and obtained his first illustration job three years later in 1957 at the age of 16. He attended the Escuela Nacional Superior Autónoma de Bellas Artes on a five-year scholarship, and was awarded a prize medal. After emigrating to the United States in 1964, at the age of 23, he quickly garnered a fan following from his illustrations of Tarzan, Conan the Barbarian, Doc Savage and various other fantasy characters (often done for paperback-fiction works featuring the characters). This led to commissions for movie-poster illustration, advertisement illustration, and artwork for various collectibles - including Franklin Mint paraphernalia, trading cards, and sculpture. Along with Julie Bell, Vallejo presents his artwork in an annual calendar and various books. Vallejo's work is often compared to the work of Frank Frazetta, not only because it is similar stylistically, but also because Frazetta painted covers for paperbacks of some of the same characters. Vallejo's preferred artistic medium is oil on board, and he has previously used photographs to combine discrete images to form composite images. Preparatory works are pencil or ink sketches, which have been displayed in the book Sketchbook. He and Julie Bell have worked on collaborative artworks together, in which they sign the artwork with both names. Vallejo has produced film posters for numerous fantasy and action movies, including Knightriders (1981), Q (1982), and Barbarian Queen (1985). He has also illustrated posters for comedies, notably National Lampoon's Vacation (1983), European Vacation (1985), Nothing But Trouble (1991) and Aqua Teen Hunger Force Colon Movie Film for Theaters (2007), co-created with Bell. He created the 1978 Tarzan calendar. His sea serpent paintings hang in the queue of Loch Ness Monster, a rollercoaster at Busch Gardens Williamsburg. He received the British Fantasy Award for best artist in 1979 for his painting The Amazon Princess and her Pet. Vallejo also won the 2011 Chelsey Award for Lifetime Artistic Achievement, and the 2014 Chelsey Award for Best Product Illustration. The Fantastic Art of Boris Vallejo (1980) Mirage (1982, reprinted 1996 and 2001) Enchantment. Stories By Doris Vallejo, Illustrated by Boris Vallejo (1984) Fantasy Art Techniques (1985) Ladies: Retold Tales of Goddesses and Heroines. By Boris and Doris Vallejo (1992) Bodies: Boris Vallejo: Photographic Art (1998) Dreams: The Art of Boris Vallejo (1999) Titans: The Heroic Visions of Boris Vallejo and Julie Bell (2000) Sketchbook (2001) Twin Visions (2002) Fantasy Workshop: A Practical Guide (with Julie Bell) (2003) Boris Vallejo and Julie Bell: The Ultimate Collection (2005) The Fabulous Women of Boris Vallejo and Julie Bell (2006) Imaginistix (2006) A yearly calendar of 13 paintings by Boris Vallejo and Julie Bell is produced by Workman Publishing. "No One Like You" is a song by German band The Scorpions. It was written by band members Rudolf Schenker (guitar) and Klaus Meine (vocals) and released as the lead single from the band's eighth studio album Blackout (1982). It was produced by Dieter Dierks and was recorded at Dierks' studio. "No One Like You" first appeared on the band's 1982 album Blackout. It was one of three hit singles from the record. The track also appeared on multiple greatest hits-type albums including: Best of Rockers 'n' Ballads, Bad for Good: The Very Best of Scorpions, and Box of Scorpions. A video was shot for the song in San Francisco. It features Alcatraz Island—with Klaus Meine being the recipient of capital punishment. The track was originally written in German and much of its meaning changed in translation. "Rhythm of Love" is a power ballad by German band The Scorpions. It was released on Harvest/EMI as a single in 1988. The video for the song, which depicts the band performing in a science fiction setting, features the model Joan Severance as one of several women enjoying the band's performance. "Still Loving You" is a power ballad by the German hard rock band Scorpions. It was released in June 1984 as the second single from their ninth studio album, Love at First Sting (1984). The song reached number 64 on the Billboard Hot 100. It was most successful in Europe, reaching the top 5 in several countries. In an interview with Songfacts, Rudolf Schenker explained, "It's a story about a love affair, where they recognized it may be over, but let's try again". The music video was released on 3 July 1984, and was filmed in Dallas, Texas at Reunion Arena. Album Blackout Blackout is the eighth studio album by German rock band Scorpions. It was released in 1982 on Harvest Records and Mercury Records. Side Two Track 9 "When the Smoke Is Going Down" by Klaus Meine

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