Many and many a night have I been called up to see or hear the spökeri (witchcraft or ghostcraft). The peasants would recount that in an upper room they had distinctly heard the spirits throwing the tin vessels and the chairs at each other — then a violent struggle between the demons, and all would be quiet.

When the album succeeds, such as on the swaggering, Queen-esque “Nothing’s Gonna Stop Us,” it does so on The Darkness’ own terms—that is, as a random ’80s-cliché generator. But with so many tired, lazy callbacks to its own threadbare catalog (including “Love Is Not The Answer,” a watery echo of the epic “I Believe In A Thing Called Love” from 2003’s Permission To Land), Hot Cakes marks the point where The Darkness has stopped cannibalizing the golden age of stadium rock and simply started cannibalizing itself. And, despite Hawkins’ inveterate crotch-grabbing, there was never that much meat there to begin with.

WIENER [1] goes well beyond analysis of periodic functions on R or even functions in 𝔏₂(R); this important paper has yet to be interpreted and assimilated into the standard repertory of abstract harmonic analysis.

Sally wasn't the star of the show, so she was glad to be paid scale.