The next major advance came soon after the war, with the construction of the first commercially available electronic digital computer, UNIVAC. This d… - Dave Barry

On the business front, by 1955 the United States was being flooded with cheap, shoddy products from Japan. We of course laughed at these products and at the Japanese; we could not imagine in our wildest dreams that they would one day stomp on our consumer-electronics industry the way Godzilla stomped on Tokyo. If somebody had told us that the Japanese would eventually try to sell us cars, we would have laughed and laughed, and then we would have gone back to trying to start our flooded Nash Ramblers.

The United States tried, by depressing the clutch of diplomacy and downshifting the gearshift lever of rhetoric, to remain neutral, but it became increasingly obvious that the nation was going to get into a war, especially since it was almost 1812.

Experiences like that led the band to develop the Retaliation Song. The way it worked was, if they were forced to perform a song they hated, they'd retaliate by playing a song that was even worse. For example, if the band had to play "My Way," it would counterattack with Bobby Goldsboro's sap-oozing piece of dreck, "Honey" (She wrecked the car and she was sad, and so afraid that I'd be mad, but what the heck!). One night, at a wedding reception, an extremely drunk man ordered the band to perform "The Ballad of the Green Berets," and then, a half hour later, demanded that it be played again. That night, Arrival struck back with the hydrogen bomb of retaliation songs: "In the Year 2525," the relentlessly ugly Zager and Evans song with the disturbingly weird lyrics (You won't find a thing to chew! Nobody's gonna look at you!). Some guests actually fled the room. (Chapter 3)