I think it's not from ABBA's song, but from Labelle's ‘Lady Marmalade’ (which is technically a cover, since it was previously recorded by The Eleventh Hour, band of Kenny Nolan who co-wrote it with Bob Crewe).

Don't let your dreams be dreams.

Not me, but at a former job's party there was a mechanical bull (we were all pretty young), so the office manager put on a random feed of songs about cowboys. Turns out there's a deathcore band Job for a Cowboy, whose song played in full. One coworker remarked about “who listens to this” — well, I know who does. I've been to a Napalm Death concert a couple months prior. And I'm only familiar with Job for a Cowboy's name because I went to gawk at what was playing in the playlist.

Not 'What's New Pussycat'?

Israeli company Cellebrite sells a device to extract data from locked phones, both Android and iPhones afaik. So indeed I'm guessing their government knows some stuff about the security of both platforms.

Fun fact: comments mentioning Cellebrite get immediately shadow-hidden on Reddit, or at least in some of the main subs.

The author is obviously missing out on a market that's ready to shove money in the author's hands.

(Apple as a platform is so closed that it couldn't be influenced by this utter crap and the developers can use the OS native API's.)

A hidden gem of stupidity and nonsense in the already pretty dumb tirade.

Inb4 Hugo Boss.

Hugo Boss didn't design shit, as he wasn't a designer, and his company wasn't in fashion design until after his death. His company was one of the many manufacturers that the regime contracted for manufacturing uniforms, namely the SS uniforms designed by two dudes in SS.

However, Hugo Ferdinand Boss was a member of the Nazi party from 1931.

Remarkable, it's rare to see someone just outright not comprehending that an actor and a role are different entities. But apparently, as of right now, there were fourteen such people here in one hour.

Buses seem to be shafted in that comparison by the fact that no one uses them in the US. Where I am, a bus gets just seven passengers only in the middle of the night. At other times, buses would be easily at the top of the table if not for the fact that our trains also move more than twenty people per car.

Piefed has code to explicitly fuck over Sxan or what's their name, by replacing the thorn character with ‘th’. Meaning you can't properly cite Old English, Old Norse, or modern Icelandic on Piefed. But of course, “Lemmy is the authoritarian communist platform”.

Piefed's code also reeks of a recent college graduate, being a stream of consciousness with almost no comments. Meanwhile the most known, and seemingly most active dev claims twenty-five years of experience, making one wonder if they learned anything in that time (or if they count from when they've typed up some Logo at three years old).

More than a few popular songs are covers — especially back in the 60s and earlier, when it was customary to sell a song to multiple artists, often just months apart, if not weeks.

Desi Arnaz and Lucille Ball's ‘Cuban Pete’ is originally by Mantovani & His Tipica Orchestra.

The Tokens' ‘The Lion Sleeps Tonight (Wimoweh)’ is derived from Solomon Linda and The Evening Birds' ‘Mbube’.

Pat Boone's ‘Speedy Gonzales’ is by David Hess under the name David Dante.

Dick Dale's ‘Misirlou’ is a traditional Mediterranean melody, recorded e.g. by Τέτος Δημητριάδης.

Marlene Dietrich's ‘Where Have All The Flowers Gone?’ was written by Pete Seeger in 1955 and recorded in 1960, with the melody taken from an Irish lumberjack song with the words 'Johnson says he'll load more hay', and words inspired by the Cossack folk-song 'Koloda-Duda'.

Shirley Bassey's ‘Big Spender’ was written by Cy Coleman and Dorothy Fields for the musical Sweet Charity, first performed in 1966. Peggy Lee was the first artist to record the song for her album of the same name.

Blue Swede's ‘Hooked on a Feeling’ is originally by B. J. Thomas.

The Trashmen's ‘Surfing Bird’ is an amalgamation of The Rivingtons' ‘Papa-Oom-Mow-Mow’ and ‘The Bird's The Word’.

The Mamas & The Papas' ‘California Dreamin'’ was written by John Phillips and Michelle Phillips in 1963 and first recorded by Barry McGuire. The Mamas & the Papas sang backup on the original version.

Robert Knight's ‘Everlasting Love’ was covered by Love Affair the same year 1967, and by Sandra in 1987.

Righteous Brothers' ‘Unchained Melody’ is originally by Todd Duncan, from the film ‘Unchained’.

Elvis Presley's ‘Blue Suede Shoes’ is a cover of Carl Perkins, recorded iirc the same month when Perkins' version came out, though released half a year later. I've vaguely heard that Presley probably recorded a whole bunch of covers, but I'm not that into his music as to investigate deeper.

Marilyn Monroe's ‘I Wanna Be Loved By You’ was written by Herbert Stothart and Harry Ruby, with lyrics by Bert Kalmar, for the 1928 musical Good Boy, and performed by Helen Kane.

The Blues Brothers' ‘Everybody Needs Somebody’ is unsurprisingly a cover, of Solomon Burke.

The Beach Boys' ‘Surfin' U.S.A.’ is a half-cover: it's a rewritten version of Chuck Berry's ‘Sweet Little Sixteen’ with new lyrics.

Nancy Sinatra's ‘Bang Bang (My Baby Shot Me Down)’ is originally by Sonny Bono and Cher.

Nancy Sinatra and Lee Hazlewood's ‘Summer Wine’ was originally sung by Hazlewood and Suzi Jane Hokom.

Edwin Starr's ‘War’ is by The Temptations.

while The Temptations' ‘Papa Was A Rolling Stone’ is originally by The Undisputed Truth.

‘Apache’ was written by Jerry Lordan and recorded by Bert Weedon, then covered by The Shadows, Incredible Bongo Band, and others.

Eruption's ‘One Way Ticket’ was originally performed by US singer Neil Sedaka in 1959.

Shirley Bassey's ‘Where Do I Begin (Love Story)’ is a cover of Andy Williams.

Los Lobos' ‘La Bamba’ is a cover of Ritchie Valens.

Soft Cell's ‘Tainted Love’ is originally by Gloria Jones.

Status Quo's ‘In The Army Now’ is by Dutch duo Bolland & Bolland.

Grace Jones' ‘I've Seen That Face Before (Libertango)’ is rather explicitly a reworking of Astor Piazzolla's ‘Libertango’.

Blondie's ‘The Tide Is High’ is by The Paragons.

Cyndi Lauper's ‘Girls Just Want To Have Fun’ is by Robert Hazard.

Geri Halliwell's ‘It's Raining Men’ is a well-known cover of The Weather Girls.

George Harrison's ‘Got My Mind Set On You’ is a cover of James Ray.

Leonard Cohen's ‘Hallelujah’ is well-known, but is typically performed like John Cale's piano version.

Opus III's ‘It's A Fine Day’ is an odd case using the song by Jane, which isn't quite so happy.

Cher's ‘The Shoop Shoop Song (It's In His Kiss)’ was written by Rudy Clark and recorded by Merry Clayton in 1963.

Cher's ‘Walking In Memphis’ is originally by Marc Cohn.

Urge Overkill's ‘Girl, You'll Be a Woman Soon’ is originally by Neil Diamond.

Boney M.'s ‘Hooray! Hooray! It's a Holi-Holiday’ is an adaptation of children's song 'Polly Wolly Doodle'.

Coolio and L.V.'s ‘Gangsta's Paradise’ lifted the entire backing track from Stevie Wonder's ‘Pastime Paradise’.

Joe Cocker's ‘Unchain My Heart’ was written by Bobby Sharp and recorded first in 1961 by Ray Charles and in 1963 by Trini Lopez.

Gigi D'Agostino's ‘The Riddle’ is a cover of Nik Kershaw's song from 1984.

Bloodhound Gang's ‘Along Comes Mary’ was composed by Tandyn Almer, and recorded by The Association in 1966.

Lenny Kravitz's ‘American Woman’ is originally by The Guess Who, from 1970.

The White Stripes' ‘I Just Don't Know What to Do With Myself’ was written by Burt Bacharach and lyricist Hal David, performed by Dusty Springfield in 1964.

Kylie Minogue's ‘The Loco-motion’ was originally recorded by Little Eva in 1962, also covered by Grand Funk Railroad in 1974.

Shaft's ‘Mambo Italiano’ is originally by Rosemary Clooney, from 1954, covered by Sophia Loren in 1955.

A Touch of Class' ‘Around the World (La La La La La)’ is a cover of Russian band Ruki Vverkh (‘Hands Up’).

Westlife's ‘Uptown Girl’ is a cover of Billy Joel.

Christina Aguilera, Lil' Kim, Mya, and P!nk's ‘Lady Marmalade’ was written by Bob Crewe and Kenny Nolan for The Eleventh Hour, and charted in 1974 as recorded by Labelle. Also covered by All Saints in 1998.

Cascada's ‘Everytime We Touch’ is a cover of Maggie Reilly.

The Doors' ‘Alabama Song (Whisky Bar)’ was written by Bertolt Brecht, translated to English by Elisabeth Hauptmann in 1925, set to music by Kurt Weill for the 1927 play Little Mahagonny.

Joan Jett's ‘I Love Rock 'N Roll’ was written by Alan Merrill and Jake Hooker and recorded by the Arrows in 1975.

Deep Purple's ‘River Deep, Mountain High’ is a cover of Ike & Tina Turner.

Deep Purple's ‘Hush’ was originally recorded by Billy Joe Royal in 1967.

The Youngbloods' ‘Get Together’ was originally written by Chet Powers circa 1963, under the stage name Dino Valenti.

(To be continued.)

An authoritarian typically keeps the military and police well-fed, or alternatively allows them to rob the plebs as they see fit. Otherwise bad things may happen to the emperor.

Unfortunately, Trump is likely to kick the bucket before he sees any blowback of this.

Pffft, Windows is already on 11, and MacOS is something like 26. Linux needs to catch up.

Meanwhile

JPEG XL was developed by the Joint Photographic Experts Group (JPEG), Google and Cloudinary.

Gotta say, for British food, fish and chips are surprisingly decent.

The thing depicted is Fourier transform. As opposed to ‘furry transfem’.