input: Military service and urban residency contributed to the rise of American Indian activism, particularly after the 1960s and the occupation of Alcatraz Island (1969-1971) by a student Indian group from San Francisco. In the same period, the American Indian Movement (AIM) was founded in Minneapolis, and chapters were established throughout the country, where American Indians combined spiritual and political activism. Political protests gained national media attention and the sympathy of the American public. Through the mid-1970s, conflicts between governments and Native Americans occasionally erupted into violence. A notable late 20th-century event was the Wounded Knee incident on the Pine Ridge Indian Reservation. Upset with tribal government and the failures of the federal government to enforce treaty rights, about 300 Oglala Lakota and AIM activists took control of Wounded Knee on February 27, 1973. Indian activists from around the country joined them at Pine Ridge, and the occupation became a symbol of rising American Indian identity and power. Federal law enforcement officials and the national guard cordoned off the town, and the two sides had a standoff for 71 days. During much gunfire, one United States Marshal was wounded and paralyzed. In late April, a Cherokee and local Lakota man were killed by gunfire; the Lakota elders ended the occupation to ensure no more lives were lost. In June 1975, two FBI agents seeking to make an armed robbery arrest at Pine Ridge Reservation were wounded in a firefight, and killed at close range. The AIM activist Leonard Peltier was sentenced in 1976 to two consecutive terms of life in prison in the FBI deaths. In 1968, the government enacted the Indian Civil Rights Act. This gave tribal members most of the protections against abuses by tribal governments that the Bill of Rights accords to all U.S. citizens with respect to the federal government. In 1975, the U.S. government passed the Indian Self-Determination and Education Assistance Act, marking the culmination of fifteen years of policy changes. It resulted from American Indian activism, the Civil Rights Movement, and community development aspects of President Lyndon Johnson's social programs of the 1960s. The Act recognized the right and need of Native Americans for self-determination. It marked the U.S. government's turn away from the 1950s policy of termination of the relationship between tribes and the government. The U.S. government encouraged Native Americans' efforts at self-government and determining their futures. Tribes have developed organizations to administer their own social, welfare and housing programs, for instance. Tribal self-determination has created tension with respect to the federal government's historic trust obligation to care for Indians; however, the Bureau of Indian Affairs has never lived up to that responsibility.

Answer this question "Are there any other interesting aspects about this article?"
output: It marked the U.S. government's turn away from the 1950s policy of termination of the relationship between tribes and the government.

Question: Marc Alexander Hunter was born in Taumarunui on 7 September 1953. In the late 1950s his family performed publicly where his father, Stuart, played saxophone, his mother, Voi, on piano and his older brother, Todd Hunter (born 1951), on guitar with Marc providing drums. He also grew up with two younger brothers, Ross and Brett. Hunter remembered, "We got guitars for Christmas one year, I broke mine but Todd played his.

Marc Hunter travelled overseas to recuperate, he visited Morocco and London. Back in Australia he signed a recording deal with CBS, which issued his debut solo album, Fiji Bitter, in November 1979. For the sessions he used Todd on bass guitar, John Annas on drums (ex-Kevin Borich Express), Harvey James on guitar (from Sherbet), and Terry Wilson on guitar (ex-Original Batter-sea Heroes, Wasted Daze). Fiji Bitter was recorded at Studio 301, Sydney with Richard Lush producing and engineering - Hunter wrote or co-wrote most of its tracks. The album's lead single, "Island Nights" (July), peaked at No. 20. He formed Marc Hunter and the Romantics, with Annas and James, to promote the album. Two more singles, "Don't Take Me" (November) and "When You Walk in the Room" (January 1980), appeared - neither reached the top 50. In 1980 Hunter, on lead vocals, formed an R&B group in Sydney, the Headhunters, with Todd on bass guitar (by then ex-Dragon), Kevin Borich on guitar, Mick Cocks on guitar (ex-Rose Tattoo), John Watson on drums (ex-Kevin Borich Express). Australian musicologist, Ian McFarlane, described them as "an ad hoc aggregation of musicians who were drawn together by a love of playing raucous R&B". Hunter resumed his solo career with his second album, Big City Talk, which appeared in August 1981 on PolyGram/Mercury labels. It was co-produced by Hunter and Todd. Debbie Muir of The Canberra Times, felt it "covered a wide range of material that bore some resemblance to his last album, Fiji Bitter, but was totally different to his old, Dragon days." He had used session musicians: Borich, Dave Mason (of The Reels) and Mark Punch (ex-Renee Geyer Band). Muir's fellow journalist at The Canberra Times, Garry Raffaele, opined that it "is flat, directionless, unexciting, effete rock and roll. It is devoid of feeling." On working as a solo artist, he declared, "I am happier now on my own. I was in a wretched state of mind when I was in the band... I miss the camaraderie involved but then I prefer to make my own decisions." The title track, "Big City Talk", was released as a single in July and reached No. 25. Follow up singles, "(Rock'n'Roll is) a Loser's Game" (September), "Side Show" (November) and "Nothing but a Lie" (May 1982) did not chart. In 1981 he formed the Marc Hunter Band and in October they toured Australia with Renee Geyer; the set included a duet by Hunter and Geyer. During 1982 Hunter was working with US-born keyboardist and record producer, Alan Mansfield. In March of that year he was arrested for "$4500 in unpaid parking fines", he described his jail cell as "unbelievably filthy."

Using a quote from the above article, answer the following question: Besides the title track, were there any other singles released from Big City Talk?
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Answer:
Follow up singles, "(Rock'n'Roll is) a Loser's Game" (September), "Side Show" (November) and "Nothing but a Lie" (May 1982)