Aliens is a 1986 American science-fiction action horror film written and directed by James Cameron, produced by Gale Anne Hurd and starring Sigourney Weaver. It is the second installment in the Alien franchise; the film follows Weaver's character Ellen Ripley as she returns to the moon where her crew encountered the hostile Alien creature, this time accompanied by a unit of space marines. Additional roles are played by Carrie Henn, Michael Biehn, Paul Reiser, Lance Henriksen, Jenette Goldstein, William Hope, Al Matthews, Bill Paxton. Gordon Carroll, David Giler, Walter Hill of Brandywine Productions, who produced the first film and its sequels, served as executive producers on Aliens, they were interested in a follow-up to Alien as soon as its 1979 release, but the new management at 20th Century Fox postponed those plans until 1983. Brandywine picked Cameron to write after reading his script for The Terminator, it was filmed in England at a decommissioned power plant in Acton, London. Aliens grossed $180 million worldwide.
It was nominated for seven Academy Awards, including a Best Actress nomination for Sigourney Weaver, winning both Sound Effects Editing and Visual Effects. It won eight Saturn Awards, a Hugo Award for Best Dramatic Presentation. Empire magazine voted it the'Greatest Film Sequel Of All Time'. Aliens was the seventh-highest-grossing film of 1986 in North America. A sequel, Alien 3, was released in 1992, with Weaver reprising her role as Ripley and Henriksen as Bishop in the film. Ellen Ripley has been in stasis in a shuttle for 57 years, she is debriefed by her employers at the Weyland-Yutani Corporation. The exomoon LV-426, where the Nostromo encountered the derelict ship containing alien eggs, is now home to the terraforming colony Hadleys Hope; when contact is lost with the colony, Weyland-Yutani representative Carter Burke and Colonial Marine Lieutenant Gorman ask Ripley to accompany Burke and a Colonial Marine unit to investigate the disturbance. Despite suffering from recurring nightmares about her original experience with the alien, she joins the expedition on Burke's word that their mission is to exterminate the creatures.
Aboard the spaceship USS Sulaco, she is introduced to the Colonial Marines and the android Bishop, toward whom Ripley is hostile following her experience with the traitorous android Ash aboard the Nostromo. A dropship delivers the expedition to the surface of LV-426. Inside, they find makeshift signs of a struggle, but no bodies; the crew uses the colony's computer to locate the colonists grouped beneath the fusion powered atmosphere processing station. They head to the location. At the center of the station, the Marines find the colonists cocooned, serving as incubators for the creatures' offspring; when the Marines kill a chestburster, the other aliens are roused and ambush the troops, killing Frost, Crowe and Drake while capturing Apone and Dietrich alive to be cocooned as hosts. When the inexperienced Gorman panics, Ripley assumes command, taking control of their armored personnel carrier, rams the nest to rescue Corporal Hicks, Private Hudson and Private Vasquez, the only three survivors.
Hicks orders the dropship to recover the survivors, but a stowaway alien kills the pilots Spunkmeyer and Ferro, causing it to crash into the station. The remaining group barricade themselves inside the colony command center. Ripley discovers that Burke sent the colonists to investigate the derelict spaceship where the Nostromo crew first encountered the eggs, believing he could become wealthy by recovering alien specimens for use as biological weapons, she threatens to expose him, but Bishop informs the group that the power plant was damaged by the dropship crash along with the previous firefight that ruptured the cooling system and will soon explode with the force of a 40-megaton thermonuclear weapon. He volunteers to crawl through several hundred meters of piping conduits to reach the colony's transmitter and remotely pilot the Sulaco's remaining dropship to the surface. Ripley and Newt fall asleep in the medical laboratory, awakening to find themselves locked in the room with the two "facehuggers", which have been released from their tanks.
Ripley triggers a fire alarm to alert the Marines, who kill the creatures. Ripley accuses Burke of releasing the facehuggers so that they would impregnate her and Newt, allowing him to smuggle the embryos past Earth's quarantine, of planning to kill the rest of the Marines so that no one could contradict his version of events. Before the Marines can kill Burke, the power is cut, aliens assault through the ceiling. In the ensuing firefight, Burke attempts to flee but is cornered by an alien, while Hudson is dragged away after covering the others' retreat. Gorman and the injured Vasquez sacrifice themselves. Ripley and Hicks reach Bishop in the second dropship, but Ripley refuses to abandon N
Pink Floyd – The Wall
Pink Floyd – The Wall is a 1982 British surrealist live-action/animated musical drama film directed by Alan Parker with animated segments by political cartoonist Gerald Scarfe, is based on the 1979 Pink Floyd album of the same name. The film centers around a confined rocker named Pink, after being driven into insanity by the death of his father and many depressive moments during his lifetime, constructs a metaphorical wall to be protected from the world and emotional situations around him; when this coping mechanism backfires he sets himself free. The screenplay was written by bassist Roger Waters. Like its musical companion, the film is metaphorical, symbolic imagery and sound are present most commonly. However, the film is driven by music, does not feature much dialogue. Gerald Scarfe drew and animated 15 minutes of animated sequences, which appear at several points in the film, it was the seventh animated feature to be presented in Dolby Stereo. The film is best known for its disturbing surrealism, animated sequences, sexual situations and gore.
Despite its turbulent production and the creators voicing their discontent about the final product, the film has since fared well and has established cult status. Pink Floyd is one of the many reasons which have left him depressed. At the beginning of the film, he appears motionless and expressionless, while remembering his father. While Pink imagines a crowd of fans entering one of his concerts, but him receiving them in a Neo-Nazi alter ego, a flashback reveals how his father was killed defending the Anzio bridgehead during World War II, in Pink's infancy; the aftermath of the battle is seen, thus, Pink's mother raises him alone, which affects Pink's childhood. A young Pink discovers a scroll from "kind old King George" and other relics from his father's military service and death. An animation depicts the war. Pink places a bullet on the track of an oncoming train, imagines the transportation of Jews in that train. At school, he is caught writing poems in class and humiliated by the teacher who reads a poem, the song "Money".
However, it is revealed that bad treatment of the students is because of the unhappiness of the teacher's marriage. Pink imagines a surrealistically oppressive school system in which children fall into a meat grinder; the children rise in rebellion and destroy the school, carrying the Teacher away to an unknown fate. As an adult now, Pink remembers his overprotective mother, when he got married, his depressed behavior, turns his wife apart. After a phone call, Pink discovers that his wife is cheating on him, another animation shows that every traumatic experience he has had is represented as a "brick" in the metaphorical wall he constructs around himself that divides him from society. Pink turns to a willing groupie, whom he brings back to his hotel room only to trash it in a fit of violence, terrifying the groupie out of the room. Depressed, he thinks about his wife, feels trapped in his room, he destroys his last possessions, remembers every "brick" of his wall. His wall is shown as being complete, the film returns to the first scene.
Now inside his wall, he doesn't leave his hotel room. He begins to lose his mind to metaphorical "worms", he shaves all his body hair and, just watches The Dam Busters on television. A flashback shows young Pink searching through trenches of the war finding himself as an adult. Young Pink escapes in terror, appears in a train station, with the people demanding that the soldiers return home. Returning to the present, Pink's manager finds him in his hotel room and unresponsive. A paramedic injects him to enable him to perform. In this state, Pink fantasizes that he is a dictator and his concert is a neo-Nazi rally, his followers proceed to attack ethnic minorities. He holds a rally in suburban London, symbolizing his descent into craziness; the scene is intercut with images of animated marching hammers across ruins. Pink stops hallucinating and screams, begging for everything to stop. In a climactic animated sequence, depicted as a small inanimate rag doll, is on trial, his sentence is "to be exposed before peers."
His teacher and wife accuse him. The judge gives the order to "tear down the wall". Following a prolonged silence, the wall is destroyed. Several children are seen cleaning up a pile of debris, with a freeze-frame on one of the children emptying a Molotov cocktail. In the mid-1970s, as Pink Floyd gained mainstream fame, Waters began feeling alienated from their audiences:Audiences at those vast concerts are there for an excitement which, I think, has to do with the love of success; when a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is good, you become a fanatic to be touched vicariously by their glamour and fame. Stars—film stars, rock'n'
Henry Lawrence Garfield, better known by his stage name Henry Rollins, is an American musician, writer and radio host, comedian. He hosts a weekly radio show on KCRW, is a regular columnist for Rolling Stone Australia and was a regular columnist for LA Weekly. After performing in the short-lived Washington, D. C. band State of Alert in 1980, Rollins fronted the California hardcore punk band Black Flag from August 1981 until mid-1986. Following the band's breakup, Rollins established the record label and publishing company 2.13.61 to release his spoken word albums, formed the Rollins Band, which toured with a number of lineups from 1987 until 2003, during 2006. Since Black Flag disbanded, Rollins has hosted numerous radio shows, such as Harmony in My Head on Indie 103, television shows such as The Henry Rollins Show, MTV's 120 Minutes, Jackass, he had recurring dramatic roles in the second season of Sons of Anarchy, in the final seasons of the animated series The Legend of Korra as Zaheer, has had roles in several films.
Rollins has campaigned for various political causes in the United States, including promoting LGBT rights, World Hunger Relief, the West Memphis Three and an end to war in particular. Rollins was born in Washington, D. C. the only child of Iris and Paul Garfield. Rollins is of Jewish ancestry through his father, his great-grandfather Henry Luban fled from the East Latvian town of Rēzekne part of the Russian Empire, into the United States. When he was three years old, his parents divorced and he was raised by his mother in Glover Park, an affluent neighborhood of Washington; as a child and teenager, Rollins was sexually assaulted. He suffered from low self-esteem. In the fourth grade, he was diagnosed with hyperactivity and took Ritalin for several years so that he could focus during school, he attended The Bullis School an all-male preparatory school in Potomac, Maryland. According to Rollins, the Bullis School helped him to develop a sense of discipline and a strong work ethic, it was at Bullis.
In 1987, Rollins said he had not seen his father since he was 18. Rollins has said that he does not have religious or spiritual beliefs, though he does not consider himself an atheist, he has avoided recreational drugs throughout his life, including alcohol, but has admitted to trying acid. Rollins is childless by choice, has not been in a romantic relationship since he was in his 20s, he considers himself a solitary person, maintains few deep relationships outside of his professional ones. One of his closest personal friends is musician Ian MacKaye: the two have been close since they met as children in Washington, D. C. Rollins enjoys a friendship with the actor William Shatner which developed after he performed on Shatner's album, Has Been. After high school, Rollins attended American University in Washington D. C. for one semester, but dropped out in December 1979. He began working minimum-wage jobs, including a job as a courier for kidney samples at the National Institutes of Health. Rollins developed an interest in punk rock after he and his friend Ian MacKaye procured a copy of The Ramones' eponymous debut album.
From 1979 to 1980, Rollins was working as a roadie including Teen Idles. When the band's singer Nathan Strejcek failed to appear for practice sessions, Rollins convinced the Teen Idles to let him sing. Word of Rollins's ability spread around the punk rock scene in Washington. R. would sometimes get Rollins on stage to sing with him. In 1980, the Washington punk band the Extorts lost their frontman Lyle Preslar to Minor Threat. Rollins joined the others of the band to form State of Alert, became its frontman and vocalist, he wrote several more. S. O. A. recorded their sole EP, No Policy, released it in 1981 on MacKaye's Dischord Records. Around April 1981, drummer Simon Jacobsen was replaced by Ivor Hanson. At the time, Hanson's father was a top admiral in the US Navy and his family shared living quarters with the Vice President of the United States in the United States Naval Observatory; the band held their practices there and would have to be let in by United States Secret Service agents. S. O. A. Disbanded after a total of a dozen concerts and one EP.
Rollins had enjoyed being the band's frontman, had earned a reputation for fighting in shows. He said, "I was like nineteen and a young man all full of steam and loved to get in the dust-ups." By this time, Rollins had become the assistant manager of the Georgetown Häagen-Dazs ice cream store. O. A. EP. In 1980, a friend gave Rollins and MacKaye a copy of Black Flag's Nervous Breakdown EP. Rollins soon became a fan of the band, exchanging letters with bassist Chuck Dukowski and inviting the band to stay in his parents' home when Black Flag toured the East Coast in December 1980; when Black Flag returned to the East Coast in 1981, Rollins attended as many of their concerts as he could. At an impromptu show in a New York bar, Black Flag's vocalist Dez Cadena allowed Rollins to sing "Clocked In", a song Rollins had asked the band to play in light of the fact that he had to drive back to Washington, D. C. to begin work. Unbeknownst to Rollins, Cadena wanted to switch to guitar, the band was looking for a new vocalist.
The band was impressed with Rollins' singing and stage demeanor, the next day, after a semi-formal audition at Tu Casa Studio in New York City, they asked him to become their permanent vocalist. Despite some doubts, he accepted, in part because of MacKaye's encouragement, his high level of energy and intense personality suited the ban
Diorama (Silverchair album)
Diorama is the fourth studio album by Australian alternative rock band Silverchair, released on 31 March 2002 by Atlantic/Eleven. It won the 2002 ARIA Music Award for Best Rock Album; the album was co-produced by David Bottrill. While Bottrill had worked on albums for a variety of other bands, Diorama marked the first production credit for lead singer Johns. Johns wrote most of the album at the piano instead of his usual guitar, while the band took a 12-month break following their previous studio album, Neon Ballroom. Silverchair worked with composer Van Dyke Parks on Diorama; the album's title refers to "a world within a world". Five singles were released: "The Greatest View", "Without You", "Luv Your Life", "Across the Night" and "After All These Years". All except "After All These Years", a promotional single, appeared on the Australian singles chart. Diorama was successful in the charts but was not as well received by critics as the band's earlier albums, it reached number one on the Australian Recording Industry Association Albums Chart and received a rating of 71 on review aggregator Metacritic.
It was certified triple-platinum by ARIA, selling in excess of 210,000 copies, won five ARIA Awards in 2002. Diorama was nominated for Highest Selling Album in 2003, three songs from the album were nominated for awards over the two years. On Diorama, Silverchair worked with David Bottrill, who replaced Nick Launay. Though Launay had produced the band's three previous albums, lead singer Daniel Johns decided that he needed someone "who understood where he wanted to go". Johns believed Diorama would be "the kind of record that people were either going to be into or were going to hate", needed a producer who would understand the band's new direction, he interviewed several candidates choosing Bottrill and taking the role of co-producer himself. Johns recorded eight songs, only to delete the files thinking they were too similar to tracks on the previous album, Neon Ballroom. Leaving the security and darkness of his earlier work, he restarted from scratch to create something more uplifting. Diorama represented a radical change in Silverchair's musical structure.
Johns felt more comfortable in making this radical change rather than a minor one, finding it helped him to regain his passion for music, which had diminished during the grunge days. Johns wrote much of the album at a baby grand piano; this change in songwriting technique had a significant effect on the sound of the album. He worked with others in developing the album; the pair described the collaborative experience as "mind-blowing". A DVD entitled Across the Night: The Creation of Diorama was released in 2002, featuring interviews with Johns and Parks. Several songs on Diorama were inspired by Johns' then-girlfriend Natalie Imbruglia, but he cautioned against possible misinterpretations of the songs, stating "Everyone will think that any lyric that's about someone in a positive light will be about her" and noting that there were other people he cared for about whom he wrote the songs. Johns denied rumours. Silverchair intended to tour supporting Diorama following its release, but plans were postponed when Johns developed reactive arthritis.
After performing "The Greatest View" at the 2002 ARIA Awards, Johns said that he wanted "to perform 11 songs at least once in front of an audience" before laying the album to rest. He travelled to California to receive treatments including daily physiotherapy. Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album, it went on to be certified triple-platinum by ARIA. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, 116 in France. Diorama reached number ninety-one on the U. S. Billboard 200; the first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was certified gold, number four in New Zealand and Canada, it charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching in different way".
It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years. On 13 May 2002, "Without You" was released as the second single, it peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a small cache of recorded material s
Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which involves the use of digital technology; the film editor works with the raw footage, selecting shots and combines them into sequences which create a finished motion picture. Film editing is described as an art or skill, the only art, unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms such as poetry and novel writing. Film editing is referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editor's work. On its most fundamental level, film editing is the art and practice of assembling shots into a coherent sequence; the job of an editor is not to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, dialogue, pacing, as well as the actors' performances to "re-imagine" and rewrite the film to craft a cohesive whole.
Editors play a dynamic role in the making of a film. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai and the Coen brothers. With the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture. Sound and visual effects editors dealt with the practicalities of other aspects of the editing process under the direction of the picture editor and director. However, digital systems have put these responsibilities on the picture editor, it is common on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are replaced with more refined final elements produced by the sound and visual effects teams hired to complete the picture. Early films were short films that were one long and locked-down shot.
Motion in the shot was all, necessary to amuse an audience, so the first films showed activity such as traffic moving on a city street. There was no editing; each film ran as long. The use of film editing to establish continuity, involving action moving from one sequence into another, is attributed to British film pioneer Robert W. Paul's Come Along, Do!, made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an art exhibition having lunch and follow other people inside through the door; the second shot shows. Paul's'Cinematograph Camera No. 1' of 1896 was the first camera to feature reverse-cranking, which allowed the same film footage to be exposed several times and thereby to create super-positions and multiple exposures. One of the first films to use this technique, Georges Méliès's The Four Troublesome Heads from 1898, was produced with Paul's camera; the further development of action continuity in multi-shot films continued in 1899-1900 at the Brighton School in England, where it was definitively established by George Albert Smith and James Williamson.
In that year, Smith made As Seen Through a Telescope, in which the main shot shows street scene with a young man tying the shoelace and caressing the foot of his girlfriend, while an old man observes this through a telescope. There is a cut to close shot of the hands on the girl's foot shown inside a black circular mask, a cut back to the continuation of the original scene. More remarkable was James Williamson's Attack on a China Mission Station, made around the same time in 1900; the first shot shows the gate to the mission station from the outside being attacked and broken open by Chinese Boxer rebels there is a cut to the garden of the mission station where a pitched battle ensues. An armed party of British sailors arrived to rescue the missionary's family; the film used the first "reverse angle" cut in film history. James Williamson concentrated on making films taking action from one place shown in one shot to the next shown in another shot in films like Stop Thief! and Fire!, made in 1901, many others.
He experimented with the close-up, made the most extreme one of all in The Big Swallow, when his character approaches the camera and appears to swallow it. These two filmmakers of the Brighton School pioneered the editing of the film. By 1900, their films were extended scenes of up to 5 minutes long. Other filmmakers took up all these ideas including the American Edwin S. Porter, who started making films for the Edison Company in 1901. Porter worked on a number of minor films before making Life of an American Fireman in 1903; the film was the first American film with a plot, featuring action, a closeup of a hand pulling a fire alarm. The film comprised a continuous narrative over seven scenes, rendered in a total of nine shots, he put a dissolve between every shot, just as Georges Méliès was doing, he had the same action repeated across the dissolves. His film, The Great Train Robbery, had a running time of twelve minutes, with twenty separate shots and ten different indoor and outdoor locations.
He used cross-cutting editing method to show simultaneous action in different places. These early film directors discovered impor
Tomorrow (Silverchair song)
"Tomorrow" is a song by Australian rock band Silverchair, released on 16 September 1994 on their debut extended play album titled Tomorrow. The song appeared on the band's first full-length album, Frogstomp, it won the 1995 ARIA Music Award for Single of Highest Selling Single. The track was written by the band's lead vocalist, lead guitarist and front man, Daniel Johns, their drummer-percussionist, Ben Gillies, it was produced and engineered by Phil McKellar at national radio station, Triple J's studios for SBS-TV's show, which aired on 16 June 1994. After the broadcast the band were signed to the Murmur label – a Sony Music subsidiary – which subsequently issued the Tomorrow EP. "Tomorrow" became a breakthrough hit for Silverchair when it reached number one on the ARIA Singles Chart in October and remained at the top position for six weeks. In the United States a re-recorded version was issued in the following year and peaked at number one on both the Billboard Modern Rock Tracks and the Album Rock Tracks charts.
In the United Kingdom, the song made No. 59 on the UK Singles Chart in September 1995. At the ARIA Music Awards of 1995, "Tomorrow" won three awards in the categories'Single of the Year','Highest Selling Single' and'Breakthrough Artist – Single'. Ben Gillies and Daniel Johns co-wrote "Tomorrow" when they were performing with Chris Joannou as Innocent Criminals. Innocent Criminals entered YouthRock, a competition for school-based bands, in 1994. Early in that year they recorded demos of "Acid Rain", "Cicada", "Pure Massacre" and "Tomorrow" at Platinum Sound Studios. Johns recalled making the demos "e had just recorded that at a cheap studio... It cost about $75. We weren't in there for more than an hour; the version we entered went for about six minutes". In April 1994, the band won a national band competition called Pick Me, using their demo of "Tomorrow"; the competition was conducted by the SBS TV show Nomad and Australian Broadcasting Corporation alternative radio station Triple J. As part of the prize, Triple J recorded the song and ABC filmed a video, aired on 16 June.
For the video's broadcast, they had changed their name to Silverchair. On 16 September, their Triple J recording of "Tomorrow" was released as a four-track extended play with "Acid Rain", "Blind", "Stoned". From late October, it spent six weeks at number-one on the ARIA Singles Chart, it reached number one on the New Zealand Singles Chart in February 1995. In 1995, a re-recorded version of "Tomorrow" was made for the United States market, becoming the most played song on US modern rock radio that year. In the US it peaked at number one on both the Billboard Modern Rock Tracks and the Album Rock Tracks charts; when asked about where the inspiration for "Tomorrow" came from, Johns said: That was on a TV show. There was this poor guy taking a rich guy through a hotel to experience the losses of the less fortunate than him; the rich guy is just complaining because he just wants to get out and the poor guy is saying you have to wait till tomorrow to get out. That's one of our least serious songs but it still has meaning to it.
Two different music videos were released to promote "Tomorrow". The original version was directed by Robert Hambling for SBS-TV show Nomad, produced and directed from 1992 to 1994 by Kerry Negara, it was broadcast on 16 June 1994 as part of the group's prize for winning the Pick Me competition. The second version is directed by Mark Pellington; this video has been described as similar to the music video for the Pearl Jam song "Jeremy" directed by Pellington. Like the "Jeremy" video, the US "Tomorrow" video includes: harsh lighting on the face; the US version of "Tomorrow" received high rotation on MTV, which "led to an abundance of radio requests". In the United Kingdom, the song made No. 59 on the UK Singles Chart in September 1995. On 20 October 1995, at the ARIA Music Awards, "Tomorrow" won three categories:'Single of the Year','Highest Selling Single' and'Breakthrough Artist – Single'. At the ceremony they performed a cover version of Radio Birdman's "New Race" with Tim Rogers joining them on stage.
Their trophies were collected by the young son of Frogstomp's producer, Kevin Shirley. AllMusic's Stephen Thomas Erlewine described the "angst-ridden single" as "from the standard grunge formula". In February 2004 Australian rock musician Scott Owen of The Living End was asked for "the most influential Australian music release" and answered that it was Silverchair's "Tomorrow", he explained "it taught kids that if you give it a go you have the chance to take on the world". On 9 December 1995 "Tomorrow" and "Pure Massacre" were performed by Silverchair on Saturday Night Live, hosted by David Alan Grier. "Tomorrow" was used in "The Mystery of Morning Wood", an episode on season six of Beavis and Butt-head. At the start of the episode the two main characters are singing Boston's "More Than a Feeling" concluded that the song was stupid and ended by stating how the video fails to disturb them; the song is a downloadable track on Guitar Hero World Tour. The song "Stoned" from the Australian single release features in the 1995 film Mallrats.
A re-recorded version of "Blind" was in the
Robert George "Rob" Hirst is an Australian musician from Camden, New South Wales. He is a founding member of rock band Midnight Oil on drums and backing vocals from the 1970s until the band took a hiatus in 2002; the band resumed activity as a group in 2017. Hirst wrote a book, Willie's Bar & Grill, recounting the experiences on the tour Midnight Oil embarked on shortly after the 11 September terrorist attacks in 2001. In the early 1970s schoolboys Rob Hirst and close friends Jim Moginie and Andrew "Bear" James played their first public performance in a school hall in Sydney's leafy northern suburbs under the name Schwampy Moose playing Beatles covers. By 1976 the band had changed their name to Farm, Hirst, now a student at University of Sydney, placed an advertisement in The Sydney Morning Herald for a singer to join the trio; the new line up of Peter Garrett, Hirst and James was joined soon after by Martin Rotsey on guitar and their manager and sixth member Gary Morris. The band changed their name to Midnight Oil.
With a blistering intensity to their live performances, the band's early music was a unique brand of surf punk. However, by the early 1980s the key songwriters in the band, Hirst and Garrett, had become interested in the political issues of the day; this had a significant influence on their song writing and soon spilled over into their live performances as the dynamic and outspoken Garrett used the stage as a platform for the band's views on issues including Aboriginal rights, nuclear disarmament and social justice. In 1979 James left to be replaced by Peter Gifford. In 1987, after touring the outback and recording the band's best-known album Diesel and Dust, Gifford suffered ill health and resigned. New bass player Bones Hillman brought a new vocal dimension to the band. Midnight Oil continued to record and tour internationally for a further 15 years, chalking up a final tally of fourteen albums and two extended plays before lead singer Garrett quit the group in December 2002, taking up a career in politics.
The band have resumed activity as of 2017, including undertaking a 2017 world tour. In the mid-1990s, while Midnight Oil were taking a break, Hirst joined up with guitarist Andrew Dickson and Hoodoo Gurus bass guitarist Rick Grossman to form a side project, Ghostwriters. So far, the band has released four albums, Second Skin and Political Animal. In the year 2000, Hirst joined Backsliders, an Australian Blues group formed in 1986 whose members include founding member Dom Turner and harmonica players Brod Smith, Ian Collard and Joe Glover; the line-up with Hirst has released six studio albums, one EP and a live DVD. Turner and Hirst formed another band in 2002, the Angry Tradesmen, with the idea of taking the guitar/drum music of North Mississippi and blending it with drum/bass music of the 1990s and experimental post-punk rock, their only album Beat the House was released in 2008 and featured studio performances by Midnight Oil's Martin Rotsey. Hirst and Rotsey play on the track "All Around the World" on Jim Moginie's 2006 solo album Alas Folkloric.
Other musical collaborations have included working with Australia's Olympic athletes on a record commissioned by SOCOG for the Sydney 2000 Olympics, an unrelated collaboration with former Olympic athlete, Paul Greene. Hirst and Greene have released an album, In the Stealth of Summer, a DVD, Hirst and Greene - Live at the Basement. In 2010 Hirst and Rotsey teamed up with Violent Femmes bass player Brian Ritchie and Hunters & Collectors trumpet player Jack Howard to form a new surf rock band, The Break, their debut album, Church of the Open Sky, was released on 16 April 2010 on the independent label Bombora, distributed by MGM. A tour of Australia followed, their second album, "Space Farm", was released on 15 March 2013, again followed by an Australian tour. In 2015, Hirst collaborated on music with his eldest daughter Jay O'Shea of the band O'Shea. Hirst had given Jay up for adoption at a young age and it was through her birth mother and Rob's bandmate from Midnight Oil Bones Hillman that the two connected.
The song The Truth Walks Slowly is the second time Rob has collaborated with his children after having his younger two daughters complete backing vocals on his solo album. Hirst has three daughters, he has two daughters with his wife, Leslie Holland. He has another daughter, Jay O'Shea, born to a former girlfriend and was adopted, they reunited in 2010 and have subsequently collaborated. Midnight Oil Head Injuries Place without a Postcard 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 Red Sails in the Sunset Diesel and Dust Blue Sky Mining Earth and Sun and Moon Breathe Redneck Wonderland Capricornia Bird Noises Species Deceases The Dead Heart Scream in Blue The Real Thing Best of Both Worlds Ghostwriters Second Skin Fibromoon Political Animal Hanoi Left Field Holler Starvation Box Dark Side Heathen Songbook Live Throwbacks In the Stealth of Summer Beat the House Church of the Open Sky Space Farm The Sun Becomes the Sea The Famine and the Feast Powerful Owls Rob Hirst website Midnight Oil website The Ghostwriters website The Ghostwriters on MySpace The Backsliders website The Angry Tradesmen website Hirst and Greene website The Break website