Machine (Imagine Dragons song)
"Machine" is a song by American rock band Imagine Dragons, who co-wrote it with their producer Alex da Kid. The song is the third single from the band's fourth studio album Origins. A snippet of the track was teased in the trailer for Origins The song was announced on social media the day before it was released. On Twitter, they posted the cover art for the song, as well as the caption "Our new song Machine drops TOMORROW morning". In a positive review of the album by The Independent, the song was described as "stomping, stadium filling anthems that scream defiance and are what most would brand "classic" Imagine Dragons". Billboard described the song as "explosive" and "powerful"; the song features lyrics about "Living outside the box others might put you in". and possible references to social and political realities. "Machine" was performed live for the first time at the Cosmopolitan in Las Vegas on November 7, along with three other songs from the album: " Natural", "Zero", "Bad Liar". Dan Reynolds – lead vocals, keyboards Wayne Sermon – electric guitar, backing vocals Ben McKee – bass guitar, backing vocals Daniel Platzman – drums Alex da Kid – production
The State of Things (album)
The State of Things is the debut album from Sheffield indie band Reverend and The Makers. The album reached number 5 in the UK Albums Chart selling just over 25,000 copies in its first week; the album received positive reviews, with Uncut stating "the record is a tribute to McClure's charisma and unswerving self-belief". The debut single, Heavyweight Champion of the World, reached the top ten and was covered on BBC Radio 1's Live Lounge. Other songs on the album, notably He Said He Loved Me and The Machine have become fan favourites being played in their concerts to date, including the band's three night run at Wembley Stadium supporting Oasis; the album includes seven songs that were released as free downloads, in a collection of demos entitled Ten Songs produced by Alan Smyth. All tracks written by Jon McClure, co-writers noted
A political machine is a political group in which an authoritative boss or small group commands the support of a corps of supporters and businesses, who receive rewards for their efforts. The machine's power is based on the ability of the boss or group to get out the vote for their candidates on election day. Although these elements are common to most political parties and organizations, they are essential to political machines, which rely on hierarchy and rewards for political power enforced by a strong party whip structure. Machines sometimes have a political boss rely on patronage, the spoils system, "behind-the-scenes" control, longstanding political ties within the structure of a representative democracy. Machines are organized on a permanent basis instead of a single election or event; the term may have a pejorative sense referring to corrupt political machines. The term "political machine" dates back to the 20th century in the United States, where such organizations have existed in some municipalities and states since the 18th century.
Similar machines have been described in Latin America, where the system has been called clientelism or political clientelism in rural areas, in some African states and other emerging democracies, like postcommunist Eastern European countries. Japan's Liberal Democratic Party is cited as another political machine, maintaining power in suburban and rural areas through its control of farm bureaus and road construction agencies. In Japan, the word jiban is the word used for political machines; the Encyclopædia Britannica defines "political machine" as, "in U. S. politics, a party organization, headed by a single boss or small autocratic group, that commands enough votes to maintain political and administrative control of a city, county, or state". William Safire, in his Safire's Political Dictionary, defines "machine politics" as "the election of officials and the passage of legislation through the power of an organization created for political action", he notes that the term is considered pejorative implying corruption.
Hierarchy and discipline are hallmarks of political machines. "It means strict organization", according to Safire. Quoting Edward Flynn, a Bronx County Democratic leader who ran the borough from 1922 until his death in 1953, he wrote " the so-called'independent' voter is foolish to assume that a political machine is run on good will, or patronage. For it is not only a machine, and in any organization as in any army, there must be discipline."Political patronage, while associated with political machines, is not essential to the definition for either Safire or Britannica. A political machine is a party organization that recruits its members by the use of tangible incentives—money, political jobs—and, characterized by a high degree of leadership control over member activity. Political machines started as grass roots organizations to gain the patronage needed to win the modern election. Having strong patronage, these "clubs" were the main driving force in gaining and getting out the "straight party vote" in the election districts.
In the late 19th century, large cities in the United States—Boston, Cleveland, Kansas City, New York City, Philadelphia, St. Louis—were accused of using political machines. During this time "cities experienced rapid growth under inefficient government"; each city's machine lived under a hierarchical system with a "boss" who held the allegiance of local business leaders, elected officials and their appointees, who knew the proverbial buttons to push to get things done. Benefits and problems both resulted from the rule of political machines; this system of political control—known as "bossism"—emerged in the Gilded Age. A single powerful figure was at the center and was bound together to a complex organization of lesser figures by reciprocity in promoting financial and social self-interest. One of the most infamous of these political machines was Tammany Hall, the Democratic Party machine that played a major role in controlling New York City and New York politics and helping immigrants, most notably the Irish, rise up in American politics from the 1790s to the 1960s.
From 1872, Tammany had an Irish "boss". However, Tammany Hall served as an engine for graft and political corruption most notoriously under William M. "Boss" Tweed in the mid-19th century. Other historians note that Tammany Hall, although known, was not the most wicked, instead referring to the Republican party machine in Philadelphia. Lord Bryce describes these political bosses saying: An army led by a council conquers: It must have a commander-in-chief, who settles disputes, decides in emergencies, inspires fear or attachment; the head of the Ring is such a commander. He dispenses places, rewards the loyal, punishes the mutinous, concocts schemes, negotiates treaties, he avoids publicity, preferring the substance to the pomp of power, is all the more dangerous because he sits, like a spider, hidden in the midst of his web. He is a Boss; when asked if he was a boss, James Pendergast said I've been called a boss. All there is to it is having friends, doing things for people, later on they'll do things for you...
You can't coerce people into doing things for you—you can't make them vote for you. I never coerced anybody in my life. Wherever you see a man bulldozing anybody he don't last long. Theodore Roosevelt, before he became president in 1901, was involved in New York City politics, he explains how the machine worked: The organization of a party in our city is much like
The Jealous Girlfriends (album)
The Jealous Girlfriends is eponymous second album from the American rock band The Jealous Girlfriends. All lyrics written by the Jealous Girlfriends
Imagine Dragons is an American pop rock band from Las Vegas, consisting of lead vocalist Dan Reynolds, lead guitarist Wayne Sermon, bassist Ben McKee, drummer Daniel Platzman. The band first gained exposure with the release of their single "It's Time", followed by their award-winning debut studio album Night Visions, which resulted in the chart-topping singles "Radioactive" and "Demons". Rolling Stone named "Radioactive", which holds the record for most weeks charted on the Billboard Hot 100, the "biggest rock hit of the year". MTV called them "the year's biggest breakout band", Billboard named them their "Breakthrough Band of 2013" and "Biggest Band of 2017". and placed them at the top of their "Year In Rock" rankings for 2013, 2017, 2018. Imagine Dragons topped the Billboard Year-End "Top Artists – Duo/Group" category in 2018; the band's second studio album Smoke + Mirrors reached number one in the US, Canada and the UK. The album was preceded by the top 40 single "I Bet My Life", second and third singles, "Gold" and "Shots".
The band embarked on a ten month long world tour, which led to a brief hiatus in 2016, with occasional performances and soundtrack contributions throughout the remainder of the year. The band released their third studio album, Evolve which resulted in three chart-topping singles, "Believer", "Thunder", "Whatever It Takes" making them the artist with the most weeks at number-one on the Billboard Hot Rock Songs chart; the album reached the top five in many countries. After the Evolve Tour was completed, Imagine Dragons released their fourth studio album Origins, on November 9, 2018. "Natural" and "Zero" were released as the first singles off the album. Afterwards, "Machine" and "Bad Liar" were released. A released single titled "Born to Be Yours" was included on a deluxe version of the album. While all four albums were commercially successful, critical reception was mixed. Imagine Dragons has won three American Music Awards, nine Billboard Music Awards, one Grammy Award, one MTV Video Music Award and one World Music Award.
In May 2014, the band was nominated for fourteen Billboard Music Awards, including Top Artist of the Year and a Milestone Award, which recognizes innovation and creativity of artists across different genres. In April 2018, the band was nominated eleven more times for Billboard Music Awards. Imagine Dragons have sold 35 million singles worldwide. In 2008, lead singer Dan Reynolds met drummer Andrew Tolman at Brigham Young University where they were both students. Reynolds and Tolman added Andrew Beck, Dave Lemke, Aurora Florence to play guitar and piano for their band, their name is an anagram for a phrase only known to members of the group, that Reynolds stated each member approved of. The five-piece released an extended play titled Speak to Me that year, but Beck and Florence departed from the band's line-up that year. In 2009, Tolman recruited long-time high school friend Wayne Sermon, who had graduated from Berklee College of Music to play guitar. Tolman recruited his wife, Brittany Tolman, to sing back-up and play keys, the band began to play shows together again.
Lemke left the band on, leading Sermon to recruit another Berklee music student, Ben McKee, to join the band as their bassist and complete the line-up. The band garnered a large following in their hometown of Provo, before the members moved to Las Vegas, the hometown of Dan Reynolds, where the band recorded and released their first three EPs; the band released EPs titled Imagine Dragons and Hell and Silence in 2010, both recorded at Battle Born Studios, in Las Vegas. They returned to the studio in 2011; the third EP, It's Time, was made. They got their first big break when Train's frontman Pat Monahan fell sick just prior to the Bite of Las Vegas Festival 2009. Imagine Dragons were performed to a crowd of more than 26,000 people. Local accolades including "Best CD of 2011", "Best Local Indie Band 2010", "Las Vegas' Newest Must See Live Act", Vegas Music Summit Headliner 2010, more sent the band on a positive trajectory. In November 2011 they signed with Interscope Records and began working with English Grammy Award-winning producer Alex da Kid.
The Tolmans left the group and Daniel Platzman was recruited in August 2011 by invitation from Ben McKee, prior to the signing of the band's label deal in November 2011, alongside keyboardist Theresa Flaminio. Theresa Flaminio departed from Imagine Dragons in early 2012; the band worked with Alex da Kid, with whom they recorded their first major label release at Westlake Recording Studios in West Hollywood, California. An EP entitled Continued Silence was released on Valentine's Day digitally and peaked at number 40 on the Billboard 200; the band released an EP titled Hear Me in 2012. Shortly after, "It's Time" was released as a single and peaked at number 15 on the Billboard Hot 100; the music video debuted on April 17, 2012 on all MTV affiliates and was subsequently nominated for an MTV Video Music Award in the "Best Rock Video" category. "It's Time" was certified a double platinum single by the RIAA. The band finished recording their debut album Night Visions in the summer of 2012 at Studio X inside Palms Casino Resort and released the album in the United States on the day after Labor Day.
It peaked at No. 2 on the Billboard 200 chart with first week sales in excess of 83,000 copies, the highest charting for a debut rock album since 2006. The album reached No. 1 on the Billboard Alternative and Rock Album charts as well as the top ten on the Australian, Canadian, German
Koyaanisqatsi known as Koyaanisqatsi: Life Out of Balance, is a 1982 American experimental film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke. The film consists of slow motion and time-lapse footage of cities and many natural landscapes across the United States; the visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. Reggio explained the lack of dialogue by stating "it's not for lack of love of the language that these films have no words. It's, it no longer describes the world in which we live." In the Hopi language, the word Koyaanisqatsi means "unbalanced life". The film is the first in the Qatsi film trilogy: it is succeeded by Powaqqatsi and Naqoyqatsi; the trilogy depicts different aspects of the relationship between humans and technology. Koyaanisqatsi is the best is considered a cult film. However, because of copyright issues, the film was out of print for most of the 1990s.
The first image in the film is of the Great Gallery pictograph in Horseshoe Canyon, in Canyonlands National Park, Utah. The section shown depicts several tall, shadowed figures standing near a taller figure adorned with a crown; the next image is a close-up of a Saturn V rocket during its launch. The film fades into a shot of a desolate desert landscape. From there, it progresses to footage of various natural phenomena such as clouds; the film's introduction to human involvement in the environment is a low aerial shot of choppy water, cutting to a similar shot of rows of cultivated flowers. After aerial views of monumental rock formations drowned by the artificial Lake Powell, we see a large mining truck causing billows of black dust; this is followed by shots of power lines in the desert. Man's continued involvement in the environment is depicted through images of mining operations, oil fields, the Navajo Generating Station, the Glen Canyon Dam, atomic bomb detonations in a desert. Following the atomic bomb detonations, the next sequence begins with a shot of sunbathers on a beach pans to the San Onofre Nuclear Generating Station in the background.
Shots of taxiing United Airlines Boeing 747 aircraft and traffic patterns during rush hour are seen on a freeway and a shot of a large parking lot. This is followed with stock footage of Soviet tanks lined up in rows and a military aircraft, an aircraft carrier. Time-lapse photography of shadows of clouds are seen moving across the skyscrapers. Shots of various housing projects in disrepair, includes footage of the decay and demolition of the Pruitt-Igoe housing project in St. Louis; the sequence ends with footage of the destruction of large buildings. A time-lapse shot of a crowd of people who appear to be waiting in a line; this is followed by shots of people walking along streets in slow motion. The next sequence begins with shots of buildings and a shot of a sunset reflected in the glass of a skyscraper; the sequence uses time-lapse photography of the activity of modern life. The events captured in this sequence involve people interacting with modern technology; the first shots are traffic patterns as seen from skyscrapers at night.
This is followed by a composite shot of the moon passing behind a skyscraper. The next shots are closer shots of cars on a highway; the sun rises over the city and we see people hurrying to work. The film shows at regular speed the operation of machines packaging food. People are shown sorting mail, sewing jeans, manufacturing televisions and doing other jobs with the use of modern technology. A shot of hot dogs being sent down rows of conveyors is followed by a shot of people moving up escalators; the frenetic speed and pace of the cuts and music do not slow. People eat, play and work at the same speed; the sequence begins to come full circle as the manufacture of cars in an assembly line factory is shown. More shots of highway traffic are shown, this time in daylight; the film shows the movement of cars, shopping carts, televisions on an assembly line, elevators moving from first-person perspective. The film shows clips from various television shows being channel surfed in fast motion; the film, in slow motion shows several people reacting to being candidly filmed on the street.
The camera stays on them until the moment when they acknowledge its presence by looking directly at it. The sequence shows cars moving much faster than they were moving before. Pictures of microchips and satellite photography of metropolitan cities are shown, comparing the lay of each of them. Various shots of people are seen from beggars to debutantes; the final sequence shows footage of a rocket lifting off, only to end up exploding after a few seconds. Editing suggest that there is only one rocket, while in fact two different events were used: The first batch of footage shows a Saturn V lifting off, followed by footage of the May 1962 explosion of the first Atlas-Centaur; the camera follows a flaming rocket engine and a white vapor trail or smoke against a blue sky as the debris plummets toward the ground. The film concludes with another shot of desert rock art similar to the image at the beginning. Epilogue shows the translation of the titular Hopi word and of the prophecies sung in the last part of the soundtrack.
In 1972, Godfrey Reggio, of the Institute for Regional Education, was working on a media campaign in Albuquerque, New Mexico, sponsored by the American Civil Liberties Union. The campaign involved the use of technology to control behavior. Instead of making public