On October 4, 2002, Lantos led a narrow majority of Democrats on the House International Relations Committee to a successful vote in support of the Resolution for the Use of Force, seeking the approval of the United Nations and under the condition that President George W. Bush would allow UN weapons inspectors to finish their work and that Bush would need to return to Congress for an actual declaration of war before invading Iraq. The resolution later passed the House and the Senate with a total of 373 members of Congress supporting it. "The train is now on its way", said Lantos after the resolution successfully passed both houses of Congress.  In later hearings on the war, Lantos continued his enthusiastic support.
This band was called 'Under a Dying Sun' and they were of the 'screamo' genre. 'Screamo' is a derivation of 'emo', which is short for 'emotional hardcore'. 'Hardcore' is basically another word for punk. 'Emo' is a form of punk that has passionate yelling as part of the song structure. Screamo took that a notch up by having screaming instead of yelling. There is another derivation of this form, I don't know what it's called, but it has shrieking instead of yelling. There are a number of Japanese bands that do this style. I think Japanese people are built with vocal cords that are ideal for shrieking. I once recorded a band of the shrieking emo style where their average song length was under a minute. Their entire set was 12 minutes. Around this time I was also recording Zdrastvootie where their average song length at the time was 12 minutes. It got me thinking again about a theory Karlheinz Stockhausen postulated, that I saw him present in a videotaped lecture he gave around 1970, probably taking lots of acid or so I've heard, where he talked about experimenting with highly modified tape recorders in the 1950's, where he could speed up or slow down the tape by 1000's of times, and he learned that if he could loop a tape recording and play it at 1000 times it's normal speed, as he increased the speed of the tape deck to that speed, initially the obvious change of the sound on the tape would be that it transposed to a higher pitch. But after the speed of playback reached a certain point, the sound was no longer discernable as a pitched up version of the original sound, but where the percussive aspects of the original sound, when condensed to the radically altered time period, instead became the 'texture' or timbre of the new sound. This concrete relationship between 'composition' and 'timbre', that they are one and the same only distinguished by their manifestation over time, was a revelation to me. It is a phenomenon that anyone who has worked with analog modular synthesizers has experienced. It also is the best explanation of the relevance of sound design and creative engineering, that the texture of the sounds present in a performance/recording are as relevant as the notes and amplitudes that are performed.