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The British Olduwan

2020.09.05 03:29 StevenStevens43 The British Olduwan

The British Olduwan
Olduvai gorge:
One of the most important archaeological and anthropological sites in the world, in understanding the earliest known origins of Human-being, comes from a location known as Olduvai gorge in Tanzania, were Oldowan is thought to have first began evolving in to modern human, 1.9 million years ago.
Olduvai gorge
The Olduvai Gorge it has proven invaluable in furthering understanding of early human evolution.

Homo habilis, approximately 1.9 million years ago
Link for photo
However, it is likely that Olduwan was born from inter-racial breeding
Oldowan:
It appears one of the first things Oldowan man done, was go seeking for lands, perhaps a little cooler in temperature, as Olduwan, 1.8 million years ago first appeared in Georgia, Europe.
In fact, by 1 million years ago, Olduwan man had even turned up in the area that would be considered modern day London.
Pre-history of Europe
Homo erectus georgicus, which lived roughly 1.8 million years ago in Georgia), is the earliest hominid to have been discovered in Europe.
Link for photo
Olduwan expansion
Indonesia:
Other Oldowans headed for Indonesia.
Paleolithic
Homo erectus in Indonesia by 1.8 million years
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Russia:
1.5 million years ago, Oldowan man entered Russia, by the Caucasus, which leads in to Scandanavia from the Northern land bridge, which still exists today.
Pre-history
In 2006, 1.5-million-year-old Oldowan flint tools were discovered in the Dagestan Akusha region of the north Caucasus,
Link for photo.svg)
Dagestan
China:
China 1.35m years ago
Paleolithic)
Recent study shows that the stone tools found at Xiaochangliang site are magnetostratigraphically dated to 1.36 million years ago.[9]
Link for photo
Return of Oldowan:
It would appear one of Olduwans descendants, likely returned to Africa around, 300,000 BC, via europe. Crossing the Gibraltar straits.
Paleolithic
the Acheulean. Possibly the first hunters, H. erectus mastered the art of making fire and was the first hominid to leave Africa, colonizing most of Afro-Eurasia and perhaps later giving rise to Homo floresiensis.

The earliest known Homo sapiens fossils include the Jebel Irhoud remains from Morocco (ca. 315,000 years ago),[12]

Don't take offence:
Ok, now, it is likely that the first modern humans, are still around today, in the exact same form they were then. And today, they are classed as "intelligent modern humans".
They were likely, "the pygmy peoples".
The reason they were likely the same people, as todays pygmy peoples, comes from the knowledge that the Jebel Irhoud, were extremely small in size.
Morphology
The Jebel Irhoud individuals also had very thick brow ridges and lacked prognathism.[18]
Link for photo
Magdalenian:
Now, anthropoligical studies pretty much prove, that the Magdalenians that inhabited mainland europe between 17,000 BC and the onset of the younger dryas, were the same people as Jebel Irhoud.
Period biology
The fauna of the Magdalenian epoch seems to have included tigers .
Magdalenian humans appear to have been of short stature, dolichocephalic, with a low retreating forehead and prominent brow ridges.
Link for photo
Magdalenian expansion
Cheddar man:
The map above does not attribute Southern parts of Britain, to have been colonialised by the Magdalenians, however Britains oldest known skeleton is Cheddar man, believed to be from around 9,100 BC, and also thought by anthropologists, to be black in skin colour.
Cheddar man
Cheddar Man is a human male fossil found in Gough's Cave in Cheddar Gorge, Somerset, England. The skeletal remains date to the Mesolithic (ca. 9100 BP, 7100 BC) and dark or dark to black skin.[2]
Link for photo
Doggerland:
The reason it would have been so easy for the Magdalene to colonise Thames valley, would be due to the fact that, not only would they have the brain capacity to cross the Gibraltar straits, they would also have the advantage of being able to cross the Doggerland land bridge, which had not sunk yet, until 6,500 BC.
Doggerland
Doggerland was an area of land, now submerged beneath the southern North Sea, that connected Britain to continental Europe. It was flooded by rising sea levels around 6500–6200 BC.
Link for photo
Doggerland
Pygmy peoples:
Pygmy peoples of today, can be found mostly in the Congo region of Africa.
They are a peoples which typically average a height of less than 4 ft 11.
Pygmy peoples
In anthropology, pygmy peoples are ethnic groups whose average height is unusually short. The term pygmyism is used to describe the phenotype of endemic short stature (as opposed to disproportionate dwarfism occurring in isolated cases in a population) for populations in which adult men are on average less than 150 cm (4 ft 11 in) tall.[1]
The term is primarily associated with the African Pygmies, the hunter-gatherers of the Congo basin (comprising the Bambenga, Bambuti and Batwa).[2]
Link for photo
Pygmy peoples
Effacer le Tableau:
Whilst the only noticable difference between you, and a Pygmy person, is their small stature, and the fact that even today, they are hunter gatherers, despite some politically correct Scientists insisting that Pygmy peoples are not descended from Hunter gatherers, the Pygmy peoples have been the victims of repeated attempted genocides and extermination campaigns.
Most recently, January 2003.
Violence against pygmy peoples
From the end of 2002 through January 2003 around 60,000 pygmy civilians and 10,000 combatants were killed in an extermination campaign known as "Effacer le Tableau" during the Second Congo War.[27][28] Human rights activists have made demands for the massacre to be recognized as genocide.[29]
Link for photo
Baka dancers
Bantu master:
Even "today" the Bantu make no bones about the fact that they are the pygmy peoples "masters".
Perhaps it makes them feel big.
However even "you" have joined in, on Pygmy genocidal bullying, without even knowing it, or have you never used the term "mongo", in your younger years?
Mongo, is a pygmy language, aswell as a Pygmy location.
The word Mongo, should not be used disparagingly.
But unless you want to be part of a genocide campaign, you should also not ban the word from your vocabulary.
Simply use it, respectfully.
To put in to simple terms.
If a pygmy person went on the internet, and told everyone he was a Mongo, he would likely be banned, by a well meaning leftist, that does not realise that, this this person, really is from a village called Mongo, near congo, and speaks Mongo, and banning this person is about the most insulting and racial discriminative thing one could possibly do.
Reported slavery
In the Republic of the Congo, where Pygmies make up 2% of the population, many Pygmies live as slaves to Bantu masters. The nation is deeply stratified between these two major ethnic groups. The pygmy slaves belong to their Bantu masters from birth in a relationship that the Bantus call a time-honored tradition. Even though the Pygmies are responsible for much of the hunting, fishing and manual labor in jungle villages, Pygmies and Bantus alike say that Pygmies are often paid at the master's whim: in cigarettes, used clothing, or simply not paid at all.
Link for photo.png)
Pygmy language centres
Zoos:
Discimination against pygmy peoples is not new.
Pygmy peoples, even recently, have been sent to live in zoo cages next to Lions and Tigers, and many people view Pygmy peoples, as Paleolithics.
Even in the USA, as early as 1907, they were viewed as a circus act, alongside animals.
Systematic discrimination
Historically, the pygmy have always been viewed as inferior by both colonial authorities and the village-dwelling Bantu tribes.[15] Pygmy children were sometimes captured during the period of the Congo Free State, which exported pygmy children to zoos throughout Europe, including the world's fair in the United States in 1907.[15]
Link for photo
Pygmy person in Bronx zoo cage 1906
Pepi II:
Even as far back as 2297 BC, a 13 year old Egyptian pharoah named Pepi II, took great delight in capturing a pygmy person, and bragged about to everyone in Egypt.
The Egytians begged him not to kill the pygmy person, but instead bring the Pygmy person back to Egypt.
Likely to be used for entertainment purposes.
Early years of Pepi II's reign
Sent to trade and collect ivory, ebony, and other precious items, he captured a pygmy. News of this reached the royal court, and an excited young king sent word back to Harkhuf that he would be greatly rewarded if the pygmy were brought back alive, where he would have likely served as an entertainer for the court.
Link for photo
Iymeru:
But what do we learn from this?
We learn that modern humans from 300,000 BC had the potential to be extremely literate, intelligent, and that the idea that even Olduwan may have been an Ape, is simply misguided ancient discrimination and racism, and was genocided, quite simply because he was too stubborn to give up his traditions, and likely lacked physical build in order to stick up for himself against bigots that likely wrongfully viewed him as an illiterate fool.
However Pygmy peoples are regarded by Scientists, as modern humans.
And pygmy peoples, such as Iymeru, have been in even the highest positions of the ancient Egyptian empire.
Iymeru, was the second most powerful man in Egypt, during the 13th dynasty.
He was the Pharoahs vizier.
So much for Pepi II's circus act.
Iymeru)
Iymeru was an ancient Egyptian vizier) in office during the 13th Dynasty.
Link for photo#/media/File:Statue_Iymeru_Turin.JPG)
Iymeru
Indian pygmies:
However, there is a twist in the tale.
It appears more likley, that the magdalenian Pygmies, "were not" in fact the same pygmy peoples as todays Congo contingent, but in actual fact, were more likely Indian pygmies.
The African pygmies likely took the long way round the world, instead of going directly across the Gibraltar straits.
South east Asia
Frank Kingdon-Ward in the early 20th century reported a tribe of pygmy Tibeto-Burman speakers known as the Taron inhabiting the remote region of Mt. Hkakabo Razi in Southeast Asia on the border of China (Yunnan and Tibet), Burma, and India.
Link for photo
Indian Pygmy
Indo-European
The reason it was more likley Indian pygmies, than African pygmies, comes from the fact that there is plenty more evidence, which i will reveal later, of Indian descended people, having colonised Europe, and even America.
Not only this, one of the most common languages in todays world, is Indo-European.
Indo-European likley was a language that evolved over thousands of years, likely in stages, and likley due to pro-longed exposure to one anothers culture.
Indo-Aryan first arose in the Levant around the time of the ancient egyptian empire, when Indians and Aryans colonized lower egypt.
Indo-European evolved when Indo-Aryans invaded India during the battle of the ten kings in 1400 BC.
Though, it was likley that the Aryan language, already contained certain Indo components, by the time the colonized Egypt, and those were probably picked up from the Magdalenian period, when Aryans likely had to invade european mainland to escape the polar ice-caps, and integrated with Megdalenians.
Though, Indian genes in the northern hemisphere even pre-dated the Magdalenians, which i will cover later, so it is also likely, that when the Aryans invaded european mainland, and integrated with Magdalenians, their Aryan language already contained Indo components.
We can also see by the photo of the Philippino girl, how Anthropologists could mistake Cheddar man for being black.
This is due to the fact, that Indians, "are" descended from Africans, so, in a round about way, the Magdalenian "are" African pygmies, though not as directly as one would first think.
It is likley that the Magdalenian arrived in europe via India.
Though they likely made their escape, over the Gibraltar straits, the place were it all began.
Saudi Arabia:
Whilst it is actually likely, that modern day human was already living in Scandanavia, and even european mainland, as far back as 300,000 years ago, it is most probably that any evidence of this, was washed away during the younger dryas, when both Britain and Scandanavia, lay under polar ice-caps.
But the first "recorded" movement of modern day humans, comes from 75,000 years ago when Africans first entered the Arabian peninsula.
Pre-history
A 2011 study found that the first modern humans to spread east across Asia left Africa about 75,000 years ago across the Bab-el-Mandeb connecting the Horn of Africa and Arabia.[56]
Link for photo
Arabian expansion
India:
Modern human, from the Arabian peninsula, arrived in India, sometime between 80,000 and 60,000 years ago.
Paleolithic
"Modern human beings—Homo sapiens—originated in Africa. Then, intermittently, sometime between 60,000 and 80,000 years ago, tiny groups of them began to enter the north-west of the Indian subcontinent.
Link for photo
Israel:
As Israel was in Mesopotamia, Africans travelling to the Arabian peninsula, Indonesia, or anywhere else, would have no other option than to go through the Levant, making Israel one of the earliest populated areas by modern human.
120,000 years ago.
And almost definitely Black African.
Pre-history
The oldest fossils of anatomically modern humans found outside Africa are the Skhul and Qafzeh hominins, who lived in the area that is now northern Israel 120,000 years ago.[85]
Link for photo
Neanderthal man:
The best evidence of what Neanderthal man looked like, comes from very well preserved remains of Neanderthals found in Shanidar cave in Iraq.
The remains were thought to be from between 60,000 and 80,000 years ago, and they do point to a slightly different culture sharing the lands of Mesopotamia, with Africans.
Iraq pre-history
During 1957–1961 Shanidar Cave was excavated by Ralph Solecki and his team from Columbia University, and nine skeletons of Neanderthal man of varying ages and states of preservation and completeness (labelled Shanidar I–IX) were discovered dating from 60,000–80,000 years BP.
Link for photo
Neanderthal man
Neanderthal:
Neanderthals got a bad rap.
There is no doubt Neanderthal was Asiatic.
And do you remember Pepi II? That wonderful African pharoah that delightfully hunted down a "pygmy" when he was a boy? Well, this African also took great delight in carrying on the honoured age old African tradition of "smiting" Asiatics.
Well racism and discrimination is actually quite prevalent within the ancient egyptian dynasties, and an ancient old traditional practise of native egyptians smiting inferior Asiatics, can be traced back to 3000 BC, during the reign of Den.
The depiction even included a "bearded" foe.
Events#Events)
The picture shows Den in a gesture known as "smiting the enemy". In one hand Den holds a mace, in the other hand he grabs a foe by his hair. Thanks to the braids and the conic beard the foe has been identified as of Asian origin. The hieroglyphs at the right side say "first smiting of the east".
Link for photo
Smiting asiatics
Literate:
Now, i am hoping i no longer have to go in to too much detail about how, in actual fact, Scientists now think Neanderthal man was likely literate, and actually extremely intelligent.
In fact, intelligent Africans "would not" interbreed with an idiot.
And Neanderthal man did breed with other humans in this area.
In fact, breeding with Neanderthal man, is likely where Africans gained a bit more bulk from, by breeding with a person that is derived from Northern sub grouos, that have grown to be a bit bulkier in bulk, in order to with stand the cold winters.
He also likely was 50/50 in providing the components that would later evolve in to the AfrAsian language, that is spoken by Semites, and Arabians, as well as some Africans, but nobody knows were it evolved from.
Neanderthal
Neanderthal technology is thought to have been quite sophisticated.
Compared to modern humans, Neanderthals had a more robust) build and proportionally shorter limbs. These features are often explained as adaptations to conserve heat in a cold climate,
Neanderthal got cornered in Spain:
Now just like the previous two groups, Neanderthal, being from european mainland, and who still exists today, got cornered in Spain, by this new anatomically modern human-being.
Inter-group relations
Canadian ethnoarchaeologist Brian Hayden calculated a self-sustaining population which avoids inbreeding to consist of about 450–500 individuals, which would necessitate these bands to interact with 8–53 other bands, but more likely the more conservative estimate given low population density.[31] Analysis of the mtDNA of the Neanderthals of Cueva del Sidrón, Spain, showed that the adult three men belonged to the same maternal lineage, while the three adult women belonged to different ones. This suggests a patrilocal residence (that a woman moved out of her group to live with her husband).[233] However, the DNA of a Neanderthal from Denisova Cave, Russia, shows that she had an inbreeding coefficient of ​1⁄8 (her parents were either half-siblings with a common mother, double first cousins, an uncle and niece or aunt and nephew, or a grandfather and granddaughter or grandmother and grandson)[83] and the inhabitants of Cueva del Sidrón show several defects, which may have been caused by inbreeding or recessive disorders.[218]
Link for photo
Neanderthal
Anatomically modern people:
Now, do you remember the Magdalenians from earlier in this post?
Well here is a photo of Anatomically modern people.
Early modern human
Early modern human (EMH) or anatomically modern human (AMH)[2] are terms used to distinguish Homo sapiens (the only extant human species) that are anatomically consistent with the range of phenotypes seen in contemporary humans from extinct archaic human species. This distinction is useful especially for times and regions where anatomically modern and archaic humans co-existed, for example, in Paleolithic Europe.
Link for photo
Early modern human
Neanderthal did not get wiped out:
The early modern human however, did not wipe Neanderthal out.
They shared european mainland with other literate human-beings.
Some of those human-beings, particularly the ones from Britain, that at this point in time, is just a part of Eurasia, probably looked more like this.

Western neanderthal
Denisovan:
Now, Neanderthal not only spread out from Mesopotamia along European lines, and escaped via Spain, but also along Northern lines, before escaping in to Canada via the Bering land bridge, that was around at the time.
However, the remains are no longer considered to be that of Neadnerthal, but in fact, that of Denisovan, the ancestor of Australian aboriginals, as well as Inuits and Paleo-Indians in America, and others.
Pre-history
That Russia was also home to some of the last surviving Neanderthals was revealed by the discovery of the partial skeleton of a Neanderthal infant in Mezmaiskaya cave in Adygea, which was carbon dated to only 29,000 years ago.[6] In 2008, Russian archaeologists from the Institute of Archaeology and Ethnology of Novosibirsk, working at the site of Denisova Cave in the Altai Mountains of Siberia, uncovered a 40,000-year-old small bone fragment from the fifth finger of a juvenile hominin, which DNA analysis revealed to be a previously unknown species of human, which was named the Denisova hominin.[7]
Link for photo.jpg)
Denisovan
Lapland:
Now, it is likely that Paleo-Indians lived in europe, relatively peacefully, with one another.
At least until the younger dryas, when blond haired blue eyed Aryans from Scandinavia had to invade European mainland.
It is likely what happened during this period, is Aryans became less friendly, and forced Anatomically modern humans to flee via Spain, go and live in the Northern regions and peripheries as Eskimos in Iglus, or go and breed with the current Indigenous peoples of America and Australia and update their DNA.
When the Ice-caps melted, Scandinavians likely returned to Scandinavia, and pushed the Sami people farther and farther north, until they could go no farther north, and to this day, there is a peoples in the most Northern regions of Scandanavia and Russia that regard themselves as the indigenous peoples of Scandinavia and Russia.
They are called the Sami peoples.
You have likley heard of them, without realising it.
They are Laplanders.
The place Santa Klaus is from.
Sami people
The Sámi people (/ˈsɑːmi/; also spelled Sami or Saami) are an indigenous Finno-Ugric people inhabiting Sápmi, which today encompasses large northern parts of Norway, Sweden, Finland and the Kola Peninsula within the Murmansk Oblast of Russia. The Sámi have historically been known in English as Lapps or Laplanders. Sámi ancestral lands are not well-defined. Their traditional languages are the Sámi languages which are classified as a branch of the Uralic language family.
Link for photo
Sami peoples
Indigenous Americans:
The Indigenous colonisation of the Americas happened in two waves.
The first was between 57,000 BC and 17,000 BC.
However a Polar Ice wall prevented the first arrivals from prevailing any farther than Alaska.
Migrations in to the continents
Alaska was a glacial refugium because it had low snowfall, allowing a small population to exist. The Laurentide Ice Sheet covered most of North America, blocking nomadic inhabitants and confining them to Alaska (East Beringia) for thousands of years.[53]
Second wave:
Just as the Polar ice wall in Alaska was beginning to melt, and the ice-caps began shifting towards Britain and Scandinavia, the Aryans likely came down from the Northern lands, and many Paleo-Indians likely fleed across the melting Bering land bridge and got over just in time, to breed with Indigenous Alaskans, and populate the Americas.
Canada pre-history
The first inhabitants of North America are generally hypothesized to have migrated from Siberia by way of the Bering land bridge and arrived at least 14,000 years ago.[23]
South America:
Obviously some Paleo-Indians made it over the Ice-wall prior to the second wave arriving, as archaeologists are of the belief that South America saw it's first arrivals around 16,500 BC.
Pre-columbian era
The earliest archaeological evidence from human settlement in South America comes from Monte Verde (possibly as early as 16,500 BCE).[11]
Isolation:
Until the arrival of the Spanish during the Columbian era, Paleo-Indians would have been pretty isolated, with not too much opportunity for evolving, so the 1500 AD perfectly intact mummified Inca sacrifice, would give a good clue as to what the Paleo-Indians that arrived 14,000 years ago, or even 57,000 years ago, looked like.
Link for photo
Inca sacrifice
The Australian aboriginals have a similar ancestry.
The fact that modern Australian aboriginals have the exact same ancestors as US Indigenous peoples, and were hunter gatherers when Aryans first arrived in Australia, despite making crossings on land bridges on two seperate sides of the globe, is pretty much suggestive that early modern anatomical Indonesians inhabited most of the globe, and were very much literate. And modern, and they in turn were likely descended from a mixture of Israeli Neanderthal and Afro pygmy persons.
Pre-history
Human habitation of the Australian continent is known to have begun at least 65,000 years ago,[45][46] with the migration of people by land bridges and short sea-crossings from what is now Southeast Asia.[47] The Madjedbebe rock shelter in Arnhem Land is recognised as the oldest site showing the presence of humans in Australia.[48] The oldest human remains found are the Lake Mungo remains, which have been dated to around 41,000 years ago.[49]
At the time of first European contact, most Indigenous Australians were hunter-gatherers with complex economies and societies.[53
Greenland:
The Paleo-Indonesians even found their way to Greenland by 2500 BC.
Early Paleo eskimo cultures
In prehistoric times, Greenland was home to several successive Paleo-Eskimo cultures known today primarily through archaeological finds. The earliest entry of the Paleo-Eskimo into Greenland is thought to have occurred about 2500 BC.
And the photo just goes to show, the farther North you get, the whiter you get, as ones skin evolves to adapt to the cold.
And when you get even farther north, the redder you get.
Link to photo.jpg)
Greenlandic Inuit couple
Summary:
But, the point is, that blond haired blue eyed Aryans almost definitely pre-dated the younger dryas, and they moved southward, and any trace of their previous existence was wiped out by one of humanities greatest ever Cataclysms when an entire sub-contentent, and an Island, was cut in half from manland europe.
All this happened between only 6500 and 11,000 BC.
The northward movements that have been attributed to the populating of Britain and Scandinavia, and the sudden appearance of white blue eyed people, was actually a "re-population", and they already lived in those lands previous to that.
They had lived and evolved in those lands, ever since Oldowan turned up in the Thames valley 1 million BC, and 1.5 million BC in Russia.
But until the younger dryas came and wiped any history of them out, they had no real reason to make any significant appearance on european mainland, were archaeological evidence would be preserved.
And that is why the first archaeological evidence of white man only appears after and during the Younger dryas.
However britain was likely not originally inhabited by pure Aryans.
Pure Aryans likely began colonising Britain only after the Northward migrations.
And even then. they likley shared the Island with Greekish looking people, as well as possibly even remnants of Indonesians, and the place likely got divided after Doggerland sank, and Scandinavians eventually began adding Britain to their North sea expansion.
Likely beginning around 3000 BC, with the invention of their Hjortspring boat.
Bronze age
Thousands of rock carvings from this period depict ships, and the large stone burial monuments known as stone ships, suggest that ships and seafaring played an important role in the culture at large. The depicted ships most likely represent sewn plank built canoes used for warfare, fishing and trade. These ship types may have their origin as far back as the neolithic period and they continue into the Pre-Roman Iron Age, as exemplified by the Hjortspring boat.[43]
submitted by StevenStevens43 to AhrensburgCulture [link] [comments]


2020.09.02 18:41 StevenStevens43 Amber road(s)

Amber road(s)
Amber road(s):
The Amber road was an ancient trade route that connected the North sea, and Baltic sea, to the Mediterranean Sea
Amber road
The Amber Road was an ancient trade route for the transfer of amber from coastal areas of the North Sea and the Baltic Sea to the Mediterranean Sea.[1]
Link for photo
Amber road
1900 BC:
The earliest time frame given for the construction of Amber routes in europe, comes from Britannica encyclopedia, and the earliest attestation is 1900 BC
Britannica
Amber Routes, earliest roads in Europe, probably used between 1900 BC and 300 BC
Now whilst the Amber road probably did originally begin as one Amber road, it quickly developed in to Amber routes.
From Ulster, to Wales.
From Edinburgh, to London
From London to France
From France to Hiberia/Iberia
From Oslo or Helsinki to Scicily
From Paris to Russia.
From Russia to Athens.
From Scicily to Tunisia.
Link for photo
Amber routes
Silk road:
Eventually, the Silk road would be built, and finally it would be possible for China to trade with Norway, or even London. Even Gibraltar.
But this is where mystery sets in. We know who built the Silk road.
The Hans chinese built it between 220 BC and 114 BC
Silk road
The Silk Road derives its name from the lucrative trade in silk carried out along its length, beginning in the Han dynasty in China (207 BCE–220 CE). The Han dynasty expanded the Central Asian section of the trade routes around 114 BCE
Link for photo
Silk road
Persian royal road:
And we know who built the Persian royal road in 500 BC. That was built by the persian Achaemenid empire, and persians are descended from Aryans.
Achaemenid empire)
It was maintained and protected by the Achaemenid Empire (c. 500–330 BCE)
Fir Bolg:
But who built the Amber routes which the Silk road connected too?
This brings me to Irish mythology.
According to Irish mythology, there was an Irish clan known as the Fir Bolg which travelled to Greece.
Fir Bolg
In medieval Irish myth, the Fir Bolg (also spelt Firbolg and Fir Bholg) are the fourth group of people to settle in Ireland. They are descended from the Muintir Nemid, an earlier group who abandoned Ireland and went to different parts of Europe. Those who went to Greece became the Fir Bolg
Men of bags:
According to Irish mythology, the Fir Bolg were labourers whos job it was to carry bags of soil and clay, and the name "Fir Bolg" means "men of bags".
Myth
The LGÉ says that they were enslaved by the Greeks and made to carry bags of soil or clay, hence the name 'Fir Bolg' (men of bags).
Britannica encyclopedia:
According to the Britannica ancyclopedia, the Amber routes were built using logs, and soil.
Though Amber routes built prior to 1500 BC were built using sand and sod.
Amber roads
They were constructed by laying two or three strings of logs in the direction of the road on a bed of branches and boughs up to 20 feet (6 metres) wide. This layer was then covered with a layer of transverse logs 9 to 12 feet in length laid side by side. In the best log roads, every fifth or sixth log was fastened to the underlying subsoil with pegs. There is evidence that the older log roads were built prior to 1500 BC. They were maintained in a level state by being covered with sand and gravel or sod.
Slept out doors:
It would also appear, that the Fir Bolg slept outdoors, on rocky land, which would be consistant with always being on the move.
Myth
The Cét-chath Maige Tuired says that they were forced to settle on poor, rocky land but that they made it into fertile fields by dumping great amounts of soil on it.
Thebes:
Now Irish legend traces the Fir-Bolg as far as Greece, and of course the legendary city of Greece at the time, was Thebes.
Thebes
Thebes (/θiːbz/; Greek: Θήβα, Thíva [ˈθiva]; Ancient Greek: Θῆβαι, Thêbai [tʰɛ̂ːbai̯][2]) is a city in Boeotia, central Greece. It played an important role in Greek myths, as the site of the stories of Cadmus, Oedipus, Dionysus, Heracles and others.
Link for photo
Thebes was a semi legendary port city at the southern tip of Greek mainland
Waset:
However, Thebes is not legendary in the slightest.
Thebes was not even in Greece originally.
Thebes was originally Nubia's capital city in ancient egypt.
Waset
Thebes (Ancient Greek: Θῆβαι, Thēbai), known to the ancient Egyptians as Waset, was an ancient Egyptian city located along the Nile about 800 kilometers (500 mi) south of the Mediterranean.
Link for photo
City of Zues
City of Zues:
Now, the original name for Waset, translated in to Greek, as "City of Zues".
Toponymy
In the interpretatio graeca, Amun was rendered as Zeus Ammon. The name was therefore translated into Greek as Diospolis, "City of Zeus"
Horus military road:
Therefore, it would appear likely that any Fir-Bolg going to Thebes, were likely going to Thebes in Egypt, as opposed to a semi usurped Thebes, in Greece, and this would make it likely that the Fir-Bolg may have even constructed the Horus military road, which connected Canaan to the lower cataracts of Egypt.
Tjaru
Tjaru (Ancient Egyptian: ṯꜣrw)[3] was an ancient Egyptian fortress on the Way of Horus or Horus military road, the major road leading out of Egypt into Canaan.
Land of Punt:
Now, Thebes would have pretty much grown out of the wealth coming from the gold trafficking trade coming out of the land of Punt.
Land of Punt
The Land of Punt (Egyptian: 📷 pwnt; alternate Egyptological readings Pwene(t)[2] /pu:nt/) was an ancient kingdom. A trading partner of Ancient Egypt, it was known for producing and exporting gold, aromatic resins, blackwood, ebony, ivory and wild animals.
Link for photo
Gold of the North
Gold of the North:
Therefore, it is likely, that the original Amber road, was not given the nickname "gold of the North", because it depicted the colour of Amber, but in fact, because Gold was what was being transported back up the road in the opposite direction to Amber. Gold possibly travelled as far North as what would be modern day Ulster.
Amber road may refer only to goods being transported southward.
Amber road
As an important commodity, sometimes dubbed "the gold of the north", amber was transported from the North Sea and Baltic Sea coasts overland by way of the Vistula and Dnieper rivers to Italy, Greece, the Black Sea, Syria and Egypt over a period of thousands of years.
Hyksos:
Now according to Irish mythology, the Fir-Bolg left Greece at the same-time as the Israelites left Egypt.
Myth
they leave Greece at the same time as the Israelites leave Egypt. In a great fleet,
1549 BC:
Therefore, this would be approximately 1549 BC, as that is when Ahmose I from Thebes toppled the Canaanite Hyksos and sent them back to Canaan.
Ahmose I
Ahmose I (Ancient Egyptian: jꜥḥ ms(j.w), reconstructed /ʔaʀaħ'ma:sjə/ (MK), Egyptological pronunciation Ahmose, sometimes written as Amosis or Aahmes, meaning "Iah (the Moon) is born"[5][6]) was a pharaoh and founder of the Eighteenth Dynasty of Egypt, classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. He was a member of the Theban royal house, the son of pharaoh Seqenenre Tao and brother of the last pharaoh of the Seventeenth dynasty, Kamose. During the reign of his father or grandfather, Thebes rebelled against the Hyksos, the rulers of Lower Egypt. When he was seven years old, his father was killed,[7] and he was about ten when his brother died of unknown causes after reigning only three years. Ahmose I assumed the throne after the death of his brother,[8] and upon coronation became known as nb-pḥtj-rꜥ "The Lord of Strength is Ra".
During his reign, Ahmose completed the conquest and expulsion of the Hyksos from the Nile Delta, restored Theban rule over the whole of Egypt and successfully reasserted Egyptian power in its formerly subject territories of Nubia and Canaan.[8]
Link for photo
Ahmose I
Hiberia/Iberia
So, following Irish legend, the Fir-Bolg leave Thebes around 1549 BC, and sail to Iberia in a great fleet.
Iberia is of course the land of modern day Gibraltar, Portugal, Spian, and southern parts of France.
Iberia
The Iberian Peninsula /aɪˈbɪəriən/,[a] also known as Iberia,[b] is located in the southwest corner of Europe, defining the westernmost edge of Eurasia. The peninsula is principally divided between Spain and Portugal, comprising most of their territory, as well as a small area of Southern France, Andorra and the British overseas territory of Gibraltar.
Link for photo
Iberia
Hiberia:
Of course, "Hiberia", is the etymological root for "Iberia".
Greek name
The word Iberia is a noun adapted from the Latin word "Hiberia" originating in the Ancient Greek
Hiberians:
The Romans referred to inhabitants of this land, as "Hiberians".
Roman names
The Latin word Hiberia, similar to the Greek Iberia, literally translates to "land of the Hiberians". This word was derived from the river Ebro, which the Romans called Hiberus. Hiber (Iberian) was thus used as a term for peoples living near the river Ebro.[5
Hibernia:
And of course, Hibernia was the old name for Ireland.
Hibernia
Hibernia [(h)ɪˈbɛr.n̪i.a] is the Classical Latin name for the island of Ireland.
Link for photo
Hibernia
Great conspiracy of 367 AD:
Of course, any "Scotti" that fought alongside the Irish contingent of the Germanic unification during the uprisings against the Roman empire in 367 ad, would have been "Hibernians".
The conspiracy
In the winter of 367, the Roman garrison on Hadrian's Wall rebelled, and allowed Picts from Caledonia to enter Britannia. Simultaneously, Attacotti, the Scotti from Hibernia, and Saxons from Germania landed in what might have been coordinated and pre-arranged[citation needed] waves on the island's mid-western and southeastern borders, respectively. Franks and Saxons also landed in northern Gaul.
Ancient order of Hibernians:
Therefore, the Ancient order of Hibernians, likely pre-dates the 1836 foundations in new york, after the plantations of Ulster, and is a bit more ancient than that.
Ancient order of Hibernians
The Ancient Order of Hibernians (AOH; Irish: Ord Ársa na nÉireannach[1][2]) is an Irish Catholic fraternal organization. Members must be male, Catholic, and either born in Ireland or of Irish descent. Its largest membership is now in the United States, where it was founded in New York City in 1836.
Link to photo
Ancient order of Hibernians
Hiberno-phobia:
Now i am not saying that the Amber routes were built by the Irish. I am sure there were more people than that involved.
But there may be evidence to suggest that the Fir-Bolg were at least a little bit involved in something like this.
Though i would argue it is more likely that they went to Thebes in Waset, rather than Thebes in Greece.
But to say that the Fir-Bolg definitely had no part in this, and all this was built by ancient Greek Thebans, may be simply usurpation, or, Hiberno-phobia.
Hiberno-phobia
Anti-Irish sentiment, also called Hibernophobia, may refer to or include oppression, persecution, discrimination, or hatred of Irish people as an ethnic group or nation, whether directed against the island of Ireland in general or against Irish emigrants and their descendants in the Irish diaspora.
Link for photo.jpg)
Anti-irish sentiment
Slaine mac Dela:
According to Hibernian legend, Slaine mac Dela, is the first high king of Ireland, after the return of the Fir-Bolg
Return to Ireland
Sláine (Sláinge, Slánga), son of Dela, of the Fir Bolg was the legendary first High King of Ireland, who cleared the forest around Brú na Bóinne.[1] He reportedly came ashore at Wexford Harbour at the mouth of the River Slaney.
1514-1513 BC:
The date given for this return, is 1514 BC
1514bc
Summary:
So the timing is perfect.
Calcolithic:
And the AOH catholic society, likely pre-dates Catholicism, and is likely Calcolithic.
Calcolithic
The Chalcolithic (English: /ˌkælkəˈlɪθɪk/),[1] a name derived from the Greek: χαλκός khalkós, "copper" and from λίθος líthos, "stone)"[1] or Copper Age,[1] also known as the Eneolithic[1] or Aeneolithic[2]

submitted by StevenStevens43 to AhrensburgCulture [link] [comments]


2020.09.02 03:50 StevenStevens43 Ancient Aryans

Ancient Aryans
Ancient Aryans:
The first mention of a suspected Aryan invasion comes from the 1st pharoah of the new 2nd dynasty of Egypt, Hotepsekhemwy, in 2890 BC.
Hotepsekhemwy
Hotepsekhemwy is the Horus name of an early Egyptian king who was the founder of the Second Dynasty of Egypt.
White crown:
He appears to be an invader that has just removed the native Egyptian pharoah from the throne, and created a new dynasty. A clue, as to what poliitcal culture he might be from, may be represented in the colour of crown he is attributed to be wearing.
Reign
The plundering of the cemetery and the unusually conciliatory meaning of the name Hotepsekhemwy may be clues of a dynastic struggle. Additionally, Helck assumes that the kings Sneferka and Horus “Bird” were omitted from later king lists because their struggles for the Egyptian throne were factors in the collapse of the first dynasty.[1][10][16]
Seal impressions provide evidence of a new royal residence called "Horus the shining star" that was constructed by Hotepsekhemwy. He also built a temple near Buto for the little-known deity Netjer-Achty and founded the "Chapel of the White Crown". The white crown is a symbol of Upper Egypt. This is thought to be another clue to the origin of Hotepsekhemwy's dynasty, indicating a likely source of political power.[1]
White house:
It is likely that this invasion led to the forming of the ancient Egyptian administration centre, named "the White house".
Reign
where a new administrative centre called "The white house of treasury" was founded under Peribsen.
Semerkhet:
It is very likely that the pharoah which Hotepsekhemwy defeated was Semerkhet, who was a native ancient Egyptian pharoah which reigned towards the end of the Egyptian 1st dynasty. And his reign ended with a Calamity, of some sorts.
Likely an invasion.
Semerkhet
Semerkhet is the Horus name of an early Egyptian king who ruled during the first dynasty. This ruler became known through a tragic legend handed down by the ancient Greek historian, Manetho, who reported that a calamity of some sort occurred during Semerkhet's reign.
Sekhen-Ka:
Until this abrupt end to the Egyptian 1st dynasty, the ancient Egyptian empire had been expanding Northwards, out of the lower Naqada cataracts.
Sekhen-Ka was a pre-dynastic pharoah that had greatly expanded the Egyptian empire, paving the way for the 1st dynasty.
Reign#Reign)
Ka is one of the best attested predynastic kings with Narmer and Scorpion II. Beyond Abydos, he is attested in the predynastic necropolis of Adaima in Upper Egypt[9]#citenote-9) and in the north in Tarkhan), Helwan, Tell Ibrahim Awad, Wadi Tumilat and as far north as Tel Lod in the Southern Levant.[[10]](https://en.wikipedia.org/wiki/Ka(pharaoh)#cite_note-dyn0-10)
Link for photo#/media/File:Map_of_ka_serekh.png)
Northward expansion
Land of Punt:
The origins of this expansion was likely the land of Punt.
Those from the land of Punt were likely very wealthy as they were gold minors which trafficked and traded in gold, as their main resource.
Land of Punt
The Land of Punt (Egyptian: 📷 pwnt; alternate Egyptological readings Pwene(t)[2] /pu:nt/) was an ancient kingdom. A trading partner of Ancient Egypt, it was known for producing and exporting gold, aromatic resins, blackwood, ebony, ivory and wild animals.
Link for photo
Land of Punt
Sumerians:
The empire actually likely spread as far as Sumer, where Sumerian controlled the port of Ur.
Link to photo
Ur
URU ships:
Uru ships were ancient shipping vessels constructed in Indus Valley in 4000 BC, and the ships arrived in Mesopotamia from India, and trade relations between India, Mesopotamia, and Ancient egypt, began.
History
Boats were used between 4000 and 3000 BC in Sumer,[1] ancient Egypt[12] and in the Indian Ocean.[1]
Boats played an important role in the commerce between the Indus Valley Civilization and Mesopotamia.[13] Evidence of varying models of boats has also been discovered at various Indus Valley archaeological sites.[14][15] Uru) craft originate in Beypore, a village in south Calicut, Kerala, in southwestern India. This type of mammoth wooden ship was constructed[when?] solely of teak, with a transport capacity of 400 tonnes.
Link to photo
Processing img dzx2h3a2zmk51...
Black headed people:
The Sumerian were a non Semitic speaking people, (as we can read below) that referred to themselves as "Black headed people", which could be a clue that they are from the Land of Punt.
Name
The term "Sumer" (𒋗𒈨𒊒, Sumerian: eme.gi7, Akkadian: Šumeru) is the name given to the land of the "Sumerians", the ancient non-Semitic-speaking inhabitants of southern Mesopotamia, by their successors the East Semitic-speaking Akkadians.[6][7][8] The Sumerians themselves referred to their land as "Kiengir", the "Country of the noble lords" (𒆠𒂗𒄀, ki-en-gi(-r), lit. "country" + "lords" + "noble") as seen in their inscriptions.[6][9][10]
The origin of the Sumerians is not known, but the people of Sumer referred to themselves as "Black Headed Ones" or "Black-Headed People"[6]
Link for photo.jpg)
Black headed ones
Kishite language:
They spoke a language known as "kishite", which gets confused as being a Semitic language. But it is not in fact a Semitic language.
Kish civilization
Kish represented an independent East Semitic linguistic entity that spoke a dialect (Kishite),[7]
Akkadian:
It appears to be a Semitic language. However there was no such thing as a Semitic language at this point in time. There was Sumerian (Kishite) spoken in Sumer, and Akkadian, spoken in Mesopotamia, and it was not until Sargon of Akkad from Mesopotamia invaded Sumer, that the Sumerian language and the Akkadian language merged to create the Semitic language.
The Semitic language merely contained certain Kishitic components. Which is not the same thing as the Sumerian language being Semitic.
"component" is an "important" word.
1st dynasty#First_Dynasty_of_Kish)
The East Semitic nature of these and other early names associated with Kish reveals that its population had a strong Semitic (Akkadian) speaking) component from the dawn of recorded history.[7]#cite_note-7)
Cushitic:
However, not all Sumerians would have hung around Sumer, after Sargons conquest, and many would have retreated to the land of Punt, and some would even cross over to the Cushitic side of Punt, and the Kishite language would carry many of it's components in to the Afro Cushitic languages that evolved.
Cushitic
The Cushitic languages are a branch of the Afroasiatic language family. They are spoken primarily in the Horn of Africa (Djibouti, Eritrea, Ethiopia and Somalia), as well as the Nile Valley (Sudan and Egypt), and parts of the African Great Lakes region (Tanzania and Kenya). Speakers of Cushitic languages and the descendants of speakers of Cushitic languages are referred to as Cushitic peoples.
Kingdom of Kush:
The Kingdom of Kish, would also reappear in a more Cushitic form later in history. And Kishite empire, would turn in to Kushite empire.
Kingdom of Kush
The Kingdom of Kush (/kʊʃ, kʌʃ/; Egyptian: 𓎡𓄿𓈙𓈉 kꜣš, Assyrian: 📷 Ku-u-si, in LXX Ancient Greek: Κυς and Κυσι; Coptic: ⲉϭⲱϣ; Hebrew: כּוּשׁ‎) was an ancient kingdom in Nubia, centered along the Nile Valley in what is now northern Sudan and southern Egypt.
Link for photo
Kingdom of Kush
Semitic language:
However it was definitely not Aryans that conquered Sumer, as the Semitic language is an Afro-Asiatic language, and therefore the Akkadians which conquered Sumer, must have spoken an Asiatic tongue.
Semitic language
The Semitic languages, previously also named Syro-Arabian languages, are a branch of the Afroasiatic language family originating in the Middle East[2]
Gutian people:
However, the Akkadian empire would only just form, and begin speaking the Semitic language, when the Aryans would conquer them.
Gutian people
Conflict between people from Gutium and the Akkadian Empire has been linked to the collapse of the empire, towards the end of the 3rd millennium BC. The Guti subsequently overran southern Mesopotamia and formed the Gutian dynasty of Sumer. The Sumerian king list suggests that the Guti ruled over Sumer for several generations following the fall of the Akkadian Empire.[3]
Blond haired and light coloured:
Physical appearance
According to the historian Henry Hoyle Howorth (1901), Assyriologist Theophilus Pinches (1908), renowned archaeologist Leonard Woolley (1929) and Assyriologist Ignace Gelb (1944), the Gutians were pale in complexion and blond. But this was asserted on the basis of assumed broad links to peoples mentioned in the Old Testament.[24][25][26][27] This identification of the Gutians as fair haired first came to light when Julius Oppert (1877) published a set of tablets he had discovered which described Gutian (and Subarian) slaves as namrum or namrûtum, one of its many meanings being "light colored".[28][
Summary:
The Gutians being under White house administration, would be mere speculation.
submitted by StevenStevens43 to AhrensburgCulture [link] [comments]


2020.09.01 14:58 321mmjfriend New card holder first impressions for Melbourne area

I just got my card and have been trying different dispensaries and what not. I am in the Melbourne Area btw, so we don't have as much to pick from as far as I can tell based on some of the posts.
Also, this community is super active and very helpful. I'd say most opinions are honest and right on.
So far my favorite dispensary for my area is TL. My fave strains from them are the Papaya Cake (also most beautiful big nuggies to date), Rebel Sour 2.0, Dutch Hawaiian, and Sky Walker. Most flower seems to be cut and cured nicely. I wish they would drop more flower at once and not make me check the website all the time to see what's new and fresh. Often times by the time you receive a text all the product is sold out. It sucks driving out to the TL just to get 1 eighth.
The Wax and Crumble are also really nice. I definitely prefer the crumble. Dutch Hawaiian Crumble was the best. I hope they get that back one day. I have gotten the Papaya Wax 2x. The Strawberry Switchblade crumble is very tasty but I still prefer the dutch hawaiian. Just more of an overall euphoric feeling.
I prefer getting delivery over going to the store but the $15 delivery fee is steep. It's hard to make it to $200 when there just isn't much product to pick from. Also, I ordered some wax and it was clear that the car was hot as it had spread out in the container and wasn't in its normal lump. I won't be ordering that through delivery again. They need to get some coolers out here in Florida! The in store experience is a bit intimidating. I have anxiety, so just the whole check in and guards and so much traffic. Then you go in and they have music blasting and you can barely hear anyone because of the music + the masks. Def not my preferred place to go in person.

I also went to Sur Terra. I got the Tier 1 Jacky Girl and the mid level Gorilla Glue. Both were pretty dry. The Jacky Girl was nice dense nugs and filled the entire square container. I'd say it gave me a calm happy high. Honestly, not much to remember about the Gorilla Glue. I also got some shatter from them. It came in a container on wax paper and got so stuck to the paper. I would never get that from them again.
In store experience at Sur Terra was nice. Very calm. They only have one room in Palm Bay. So you don't go through to another room to pay from a waiting room. It was busy but not as much as TL. Very quiet in there. The staff were quite cold. But also, could have been the masks.


I went to Muv in Sebastian as well. I got crumble from them. I am happy with all of it. the Slurricane is more like Budder than Crumble. Strawberry Cough is my fave. I wish I could have gotten some rosin from them.
In store experience at Muv was fantastic. The place is like a European spa. The people are very friendly and welcoming. The clerk showed me around and talked about some product with me. Very nice. Would go back again for sure. The anxiety part of me hated it though, just wanted to get in and get product and leave. Which other customers definitely did. I think they did a little extra because it was my first time there. Also, you get a 25% off first time discount and then they will use the card the doctor gave me! So 25% in the first 2 visits for me!

I ordered from Grow Healthy. Due some bad communication on my part they gave me a quarter of Silicon Valley OG. Its wonderful. Very relaxing in the body and calms the mind. I'm glad I ended up with extra. The cure is nice and the buds are trimmed well.
I got it delivered and that was great easy, highly recommend!

Finally, I did make an order to OnePlant. I saw all the MAC1 posts and just decided I had to try it for myself. Also, I went a bit mad and ordered some of their other strains because they had so many options (and no dispensaries near me have had more than 2 options).
MAC 1 - I got the 8/3 batch and it's fantastic. Very relaxing to the body. Not much smell tho.
Star Dawg- leafy, not memorable
Giesel - cut very well, citrusy smell, taste is nice, good uplifting high
Ebony and Ivory - I loved this. Put a smile on my face and just very happy uplift. Smooth vanilla taste.
Chem Sis - leafy, dry, relaxing, forgettable
Fish Whistle - leafy, dry, also forgettable
The delivery on this one was super easy. I liked the bag it came in. BUT 2 of the eights came in at 3.4gs. I let them know and they said they'd notate it on my account. This isn't a huge deal, but TL has been weighing out closer to 3.7gs each time and their shit is fire.
THEN they double dispensed my prescription on accident. So, I ended up getting some shipwreck from TL and couldn't pick it up because my prescription was totalled! I spoke with someone at OnePlant on their online chat and they said they would message someone and have them reach out to me. I never heard from anyone. I checked the MMU registry and saw they made the correction. But still, to not even contacted me! So lame. I won't be using them again for sure. The MAC1 is way over priced and the Ebony and Ivory is lovely but not worth it to deal with people that don't even care.
I still need to try VidaCann, Liberty Health, and Curaleaf. But they just don't have much product to pick from. The VidaCan near me also has been showing the same flower for a long time. So, idk what that says about them. Is their supplier that good or is the stock just sitting there?
Also, I haven't really seen much sticky moist bud at all. It's mostly been quite dry all around.
TLDR: For Brevard my vote goes to TL.
submitted by 321mmjfriend to FLMedicalTrees [link] [comments]


2020.08.07 23:25 dawndaemon Archfiend - II - Big Daddy, The Head Honcho of Scytheville

DO Y'ALL KNOW HOW HARD IT IS TO WRITE FIGHT SCENES
ANYWAY I DIDN'T DO A PROPER FIGHT SCENE SO YEAH
ENJOY!
---
“The College is under imminent attack from the dragons—all students on high alert!” EVA’s silver-bell voice rang throughout the campus, matching the slight fragrance of lavender in the air. “I’ve sealed all entrances, launch an immediate counterattack against the intruders!”
What the hell? Attack? Entertainment activities, my ass.

A soprano shriek exploded in front of Thirty. “L-Look! What’s that?!”
Aegean bared his skeleton teeth, clamping his paws over his mistress’ collar. “A wild candy-ass has appeared! Assert dominance, my dear guv’nor.”
Russet hair skidded the ground towards Thirty. They choked on their spit as their brown eyes gawked skyward, ogling her figure.
The Afro-Russian slammed her boot into the stranger’s neck like a lion’s fang carving an antelope’s flesh.
“What the fuck do you think you’re doing, you pervert?!”
The outré—male—scrambled from her sole. He scurried behind her, panting, “H-Help me get rid of these Death Servitors!”
“Why can’t you kill them yourself?”
“B-Because, uh, a beginner like you needs to have experience in the field!” He whimpered. “... Are you even a freshman?”

Thirty sighed as Aegean poked her with a claw, “Are you gonna do your thing with those ugly louts?”
“The... Death Servitors?”
He hummed a yes. “Do you understand how to work that whopping great scythe of yours?”
“... No.”
“Well, that’s just wonderful. Repeat what I do.”
She activated the sickle, liquid gasoline creeping up her arm in shadowy tendrils. “... That’s strange.”
“It realises you’re set to beat ass. Now, copy what I say, or you and this sissy are gonna get your limbs ripped off and thrown into Muspelheim.
Thirty nodded.
Si hest wer uthwix di wer nil’gnosi di Mephistophelia,” the phantom feline chanted, mistress echoing his cry.
“... Have I run into a lunatic?” The boy narrowed his eyes.
“No, you haven’t. Shut up and let me ice these deformed pigs,” the Slavic spat. “Uh, Aegean, how do I use this thing?”
“Just lacerate them chavs, I’ll use some aproploklex.” He hesitated, “... It means sorcery.”
“Whatever.”

Vetoing her vexatious senior’s whining, she counted her challengers.
Ten.
Her weapon sliced the air, the arched blade gliding in and out of two Servitors’ necks. Their blood-drenched heads plunged down the marble steps. Crimson spewed from their mutilated flesh and seeped into the floor’s cracks like a grotesque, sticky stream.
Slash. Eight.
Chop. Seven.
Slit. Six.
This is... fun?
Rip. Five.
Tear. Four.
Hack. Three.
I should do this more. It is fun.
Three gunshots. The last savages fell to the earth, perfect circles piercing their chests. Thirty’s enigmatic senior clutched a rifle in a white-knuckled grip, his face contorted with a shaky smile.

“Water... I’m so thirsty... I can’t...” He panted as she marched to him. “Buy... buy water for me... from the vending machine... over there.”
What in the hot and crispy Kentucky fried fuck is a ‘vending machine’?
“No.”
He blinked. “... What?”
“I’m not your slave, you twerp. Get it yourself.”
The stranger puffed, shuffling to the magical machine while Thirty eyeballed it in fascination.
“I’m disappointed in you,” Aegean said. “You don’t know what a vending machine is, and you don’t know Tila Tequila.”
“Who?”
“Nevermind. You’re drenched in those Death Servitors’ blood.”
She glared at her red-stained hands as a word crossed her mind. “Natorki.”
The crimson vaporised. Like Adam’s ale on a summer morning, it fell victim to the sun’s blazing rays. Aegean wrinkled his nose. “You used a purge-type spell, right?”
“... Yeah?”
“Mister Big, I’m thinking you understand more about Ka necromancy than I do. ... Here comes our resident mompara.”

“Hey! Freshman, did I catch your name?” The brunet charged towards Thirty. She shook her head. “W-Wait, why are you suddenly clean?”
“I’m a thaumaturgus,” she lied as her demon cat dug his claws into her collarbone in disgust.
I’m technically right.
His eyes lit up. “So you’re a wizard?! You can do real magic?”
“Pretty much,” the girl shrugged and yawned, Aegean snorting in her ear.
“I’m Luminous.”
“Thirty. Nice to meet you, weakling.”
He choked on his drink. “Don’t talk to me like that! They say that I’m S-ranked, but I don’t have any Extra Skill-”
“Then why is he in a supernatural military academy?” Aegean commented.
“-I can’t think of anyone worse than me, except for Finger-senpai—he’s been in the same grade for nine years!” Luminous snickered, babbling. “I can’t do much myself, but NoNo is my senior. She’s really nice to me… I’ll take you to her! Then we can deal with the rest of them together,” he motioned to the Death Servitors’ grisly corpses.
“I can do that on my own.”
“Yeah, but you have witchcraft!”
Thirty pressed her lips together. “Fine, lead the way.”

Luminous hurried to the Cassell fountain, his friend in tow, dragging her feet. Aegean said, “Stop doing that with your shoes, it’s annoying.”
She ignored him.
“I said, stop.”
Thirty carried on.
Wihsirm.
Her feet rose an inch above the ground, Ant’s gasoline dripping from her soles and through the stone floor. She sighed. A Death Servitor appeared, festered, quasar blue muscle clinging to its hide in twisted clumps.
“... Not this again,” Thirty groaned, giving an exasperated sigh. Aegean yawned.
“If it’s that bad, do you mind getting knocked out for a moment?”
“Wh-”
Metam’rphosis: Ka ekess munthrek!

Black.

She was in a cabin. It was the cottage she had shared with a blonde at Black Swan Bay, the cottage where she’d cried and laughed and screamed. A hand was on her back.
Renata.
Her mellow voice whispered, it’s okay, it’s okay, it’s okay. She rubbed Thirty’s spine, who leant over as nausea mutilated her throat. She tried to resist it, but bile squirted from her gagging lips, ebony liquid spewing everywhere, disgorging half-digested food. The girl’s gaunt, pallid face groaned.
She lurched off the chair and collapsed to the floor. The gruesome stench invaded her nostrils as she sat in a pool of her own vomit, her loyal friend crouching with her, whispering, “I love you.”
The sufferer chuckled, croaking. “Who doesn’t?”

She opened her eyes. Crimson hair tickled her face, the curls’ owner mouth curving into a nubile grin. “The princess has awoken.”
“Kahuna! You’re awake!” Someone skidded towards her, his ivory eyes sparkling.
Thirty blinked. “Holy shit, you two are hot.”
The man with crystal blue hair coughed. “I’m Aegean.”
“... What? No way.”
“Yeah.”
“Dude, I would 100% screw you.”
“You’re not gonna ask how I became human?”
“Nope, just wanna smash.”
The human Aegean choked on air. “You’re kinda raw, aren’t you?”
Thirty’s initial encounter slipped into their conversation, replying to her original comment. She flipped her vampish mane, “You’re kinda chic yourself.”
It was the erstwhile’s turn to choke.

“So, you must be the newbie, yes? Apparently, your friend kicked a few Death Servitors’ asses while you were out. He,” the redhead motioned to Luminous, “says that the pretty boy grew from your chest when you fainted.”
The cognac-haired boy exclaimed, “Thirty’s a witch! She said it herself!”
“Shush, otherwise my Master’ll force you to perform hara-kiri.” Aegean wiggled his eyebrows. Luminous licked his lips, eyes bulging from his skull.
The exquisite woman spoke, seizing and clutching Thirty’s hand in hers. “I’m NoNo.”
“I’m... Thirty. Pleased to meet you, sini kurjh itov,” her gullet vomited the last words.
She arched an eyebrow. “Is that some voodoo magic?”
“No, it’s Draconic. Sorry if it freaked you out or anything.”
“Usually, we only speak Draconic when we’re translating runes or whatever.”
“It’s my first language, and Master’s second,” Aegean interrupted, ballooning his chest. “She speaks six.”
His voice resounded in her skull, ‘We have bound souls, so I’m obliged to know everything about you. I’m... gonna go back to my cat form.’

His body liquified, trickling into the scythe’s snath. The oblivious group continued prattling.
“Six, huh? That’s the same as Caesar over there. He’s my fiancé.”
Thirty swore Luminous’ face crumpled as the last word left NoNo’s lips. She noticed an unnamed blond patrolling back and forth from the corner of her eye, tapping his foot on the smooth gravel.
“Is that him?”
The bluey nodded, Caesar striding to the group. Midway across, he said, “You’re the new student who missed the Convocation Ceremony? You actually look halfway decent.”
His future wife gave him a death glare. He ignored her.
“If you can find your way to the Student Union, I’ll consider inviting you to one of my weddings. I haven’t fixed a precise date yet, but I’ve already started planning my wedding to NoNo. We will sail around the world in a yacht-”
“I didn’t ask about your life story, buddy.” Thirty snarled. He crossed his arms in protest.

Luminous opened his mouth to speak, but EVA’s voice interrupted him—“Warning! College Square breached by Advanced Dragon Servitors! All students are to provide reinforcements to the plaza!”
Caesar raised and stroked his chin. “Advanced Dragon Servitors? Sounds intriguing. We can’t allow the Lionheart to get to them first. NoNo, Luminous. Get in!”

Thirty blinked. The blond motioned to a sleek black motorcycle, “Know how to ride?”
No. Bloody hell, I’ve lived in a remote area of Russia all my life: why does everyone expect so much of me?
“I’ll just use my abracadabras and stuff.”
How do I float again?
‘It’s wihsirm. Say ilthyeo to reverse the effects, it’s the universal spell counter. Let me sleep.’
“Wihsirm!” Her feet bobbed above the ground once more. Thirty finger-gunned at the gaping Caesar, “Never seen a necromancer before, eh?”
‘Don’t encourage him. Tell this simpleton to shut up and just shag his girlfriend. Let me sleep.’

Aegean’s mistress inflated her cheeks, backflipping mid-air and floating over to NoNo. She tossed her head back and ran her fingers through her monochrome hair, bowing. “Are we gonna go to the plaza?”
The ginger nodded and grinned. She revved the motorbike’s engine and sped away, the trio in tow.
‘You like her, don’t you?’ Aegean purred, fatigue edging his murmur.
I’m just messing around, Aegean. Love is ridiculous.
‘Can’t say I’ve experienced it in a good light either. I didn’t love my wife. We had two daughters together... they were ... stillborn.’
I’m sorry.
‘That was three thousand years ago, don’t worry about it.’ He paused. ‘Being human has made me candid. Disgusting.’

As the trinity closed in on the square, a whisper came from the crystalline lagoon below Cassell. A ripple. Thirty edged to the bank, a rictus grin wrecking her face like pewter paint smeared over maroon. She squinted into the reservoir. In its small billows, something with decayed, hideous flesh sat beneath the waves, something with wicked horns and gleaming eyes. Then the something stood.

Malformed, slight wings swelled from its back as it sprung onto Cassell ground. A talon whizzed past Thirty’s face, missing her eye by a specie. Two students caromed from the freak as a grotesque hand tossed them away like toys. NoNo and Caesar cocked their rifles. Clenching his jaw, the blond sprinted to the beast and started shooting, his intended machine-gunning it from afar.
“EX•Wind Devil!”
Aegean choked from inside his suzerain’s brain. ‘He’s just started fighting! Can no one wait these days?’
Caesar became an alabaster blur as bullets rained upon the Death Servitor. Moments later, it crumpled onto the stone, holes adorning its remains. Sanguine oozed from its wounds.

Luminous staggered to the corpse, gloating, “And there I was, thinking he was some big shot...”
‘Uh... Mr Bigwig?’
The girl ignored her Ka’s call and narrowed her eyes, “You did nothing.”
“Yeah, but you didn’t either!”
‘... Chief? Something’s wrong...’
The brunet booted the carcass. It twitched.
It twitched.
The monster rose as a gnarled fist rocketed towards Thirty.
‘Shit! Gaum-‘
Crimson stained her vision.




Blood?









No.














Hair.


















NoNo’s hair.











She... shielded me?
















... Just like Renata.



Just like her...







The collision had drained every breath of air from her lungs. She wanted to stand, to move. To inhale, to exhale, to do anything.
Thirty tried to remember how to breathe, stunned and spent as the phrase bounded to each side of her skull.
She saved me.

The Death Servitor’s fist seized the redhead and stormed through a portal. Thirty matched its speed, charging through the gateway before neither Caesar nor Luminous comprehended her tenacity.
She ran through ruin. Broken staircases littered the world, strange flowers thriving on archaic slopes.
‘That thing might have killed you!’
You... care about me?
‘I do. Ant does, too.’
What happened to her, anyway?
Thirty bounced from an upright wall to another, her boots clicking as they made contact.
‘Ka are anthropomorphisms of each part of their master’s personality. I am your command and dominance, and the old bird is your vulnerability and such. You aren’t persuadable, so the old bird will only appear if you’ve endangered yourself in emotional situations.’
She nodded.

Beneath her feet, the granite staircase surceased. Thirty fiddled with her gunmetal cufflinks, grimacing as a sudden desire to jump hit her. She wouldn’t die—she was a survivor.
Opening her shoulder blades, she leant forward and shut her eyes, letting herself slip into the unknown.
---
you're welcome dragon raja i'm fixing your grammar—if i see passive voice one more time istg-

oh btw thirty is bisexual, slightly more attracted to girls and no she won't date nono because she's not her primary love interest

i'm crying over umbrella academy season 2 wtf
five bby ilysm
submitted by dawndaemon to DragonRajaMobile [link] [comments]


2020.07.23 01:37 1_000catherine Summer Sale: Marie Kondo Edition BO Foundation GO Primer 20% Off FUDE BRUSHES PAT MCGRATH LABS KJAER WEIS NUDESTIX CHANTECAILLE NATASHA DENONA DYSON CORRALE $320 SHIPPED + Lots More!

Hello again, MUE!

PLEASE READ MY INFO SECTION BEFORE BROWSING, as some things have changed since my last sale.

-Minimum purchase requirement of $15 pre-shipping fees, please. Following the change of MUE rules, all transactions will be through PayPal Goods & Services with fees covered by me. Due to the G&S changes, I don't offer any bundle pricing or barter. Please be sure that you want the item at the listed price prior to requesting it - Thank you!
-All foundations are BUY ONE GET ONE PRIMER OF EQUAL OR LESSER VALUE FOR 20% OFF during this sale.
-Shipping to the US only at this time. Postage starts at $4 and goes up with weight.
-I honor timestamps on comments. Please reply to your own comment instead of editing the original if you want to add something! I will not be notified of your edit so I may overlook it. Thank you! Please send payment within one hour after your item is confirmed so that I can inform any other interested buyers. I will move on to the next person in line after this time.
-I'm still in the moving-in process and haven't unpacked my sample boxes, so I cannot include goody bags with purchases over $25 during this sale. I'm sorry! I love putting these together so please know that they'll return as soon as possible!
-I will be happy to take any additional pictures as needed, but I have a baby and I may not be able to get right back to you when asked.
-I will be shipping all orders within one week of the sale date.

EYESHADOW PALETTES (Verification 1 Verification 2)
SINGLE, STICK & LIQUID EYESHADOWS (Verification)
EYELINER (Verification)
BROWS (Verification)
MASCARA & LASHES (Verification)
EYESHADOW PRIMER (Verification)
FACE PALETTES (Verification)
BRONZER & CONTOUR (Verification)
POWDER CHEEK (BLUSH, HIGHLIGHTER & DUOS) (Verification)
LIQUID & CREAM CHEEK (BLUSH & HIGHLIGHTER) (Verification)
FACE POWDERS (Verification)
PRIMER, SETTING SPRAYS & SKIN (Verification)
CONCEALER + CORRECTOR (Verification)
STICK FOUNDATION (Verification)
DRUGSTORE - MID-RANGE FOUNDATION (Verification)
HIGH END-LUXURY FOUNDATION (Verification)
LIP PENCILS & CRAYONS (Verification)
LIPSTICKS & BALMS (Verification)
LIQUID LIP PRODUCTS (Verification)
BRUSHES (Verification 1 Verification 2) - All brushes have been washed gently and thoroughly with either BeautyBlender solid soap or Dr. Bronner's Liquid Castile Baby Soap, depending on their respective fibers. They have been dried in brush guards in order to show their original shape.
DYSON CORRALE STRAIGHTENER (Verification)
submitted by 1_000catherine to makeupexchange [link] [comments]


2020.07.18 17:31 Bago18JulOly Na-ked Fat Girl Por-n

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https://preview.redd.it/8s8hc7izwmb51.jpg?width=128&format=pjpg&auto=webp&s=dbdb1a3c3c5744e4656f79be7d247883d4aa90b4
submitted by Bago18JulOly to Home_Made_Fun [link] [comments]


2020.06.29 03:25 Fisherwolf34 「Remember the Time」

Stand User: Cairo, the high-priestess of an ancient Egyptian temple long since abandoned beneath the ever-shifting sands of time. Having been kept alive by the abilities of her Stand, Cairo has long since abandoned any hope of escaping her desert tomb, and has since taken to styling herself as a vengeful spirit of the desert in order to mess with the many tourists who grace her section of the desert every year. But beneath her air of self-confident aloofness and graceful poise, Cairo is an intensely melancholic and cynical figure, often prone to long periods of a sedate introspection during which she is nearly unapproachable in her contemplative silence. Nonetheless, Cairo is a romantic deep at heart, who, despite her self-professed loathing of modern humanity, invariably finds herself drawn to the few people she believes to be interesting, taking solace in the few moments she can share with those who remain deeply rooted in their humanity. She also has a long standing arrangement with the curators of a local museum, who offer her various modern amenities in exchange for the wealth of historical memorabilia which she keeps locked away in the halls of underground home - though her tendencies to play pranks often necessitates a grain of salt be taken when dealing her.
Stand Name: Remember The Time
Stand Parameters:
Power - N/A
Speed - N/A
Range - A
Precision - B
Durability - A
Stand Appearance: A tall hourglass made from polished ebony and ornate stained glass. Only slightly taller than Cairo’s unnatural seven foot stature, a polished ivory figure of the priestess herself is set within the body of the hourglass, with hundreds of gems from across the globe encrusting the bone-white figure trapped within the oversized timepiece. Dull brown sand, glinting of long lost treasures and ancient mysteries, fills the hourglass to the brim, precious metals and fabulous riches appearing whenever the timepiece performs its monthly reset, sand once again flowing freely from one end to another.
Stand Abilities:
Personal Timeline Manipulation - Remember The Time’s primary ability deals with the control of Cairo’s personal timeline; a period of time which includes the moment of her birth to the day of her death at thirty-seven years of age. In addition to allowing Cairo unparalleled linear movement over the course of her tragically short lifespan, is also capable of moving “sideways” through time, splicing futures and pasts from alternate timelines into her own. And while it is true that she ends up dying at age thirty-seven no matter which timeline she fuses with her present timeline, the skills and abilities she has learned in each alternate chronology do not necessarily have to be the same - a quirk of Remember The Time which Cairo mercilessly exploits in order to utilize skills which could only be acquired over the course of a thousand lifetimes.
The House of the Rising Sun - An ability which automatically triggers upon Cairo’s death, The House of the Rising Sun can be likened to the existence of a “New Game Plus” in a video game with infinite replayability. In essence, The House of the Rising Sun automatically returns Cairo to the moment of her birth immediately following her death, all while granting the former priestess perfect retention of any memories or fine motor skills she may have accumulated over the course of her life. There is no upper limit to this ability, and it will continue to revive Cairo whenever she dies, forever trapping her in an endless cycle of death and rebirth. This ability also forces Cairo to remain within 120 feet of the immobile hourglass Stand - a condition which keeps the priestess trapped within her underground home.
Come On Up To The House - As a side effect of the immortality granted by Remember The Time, Cairo will consistently die after a period of thirty-seven years. There is no way to circumvent or prevent this curse; it triggers automatically on the exact moment of Cairo’s original death, and often manifests as a sudden and unpreventable case of drowning.
Authors Notes: Remember The Time, in addition to being based off of the Michael Jackson song of the same name, also takes inspiration from the ancient Egyptian game of Senet - hence its presence as a contest entry. Senet, which dates back to 3100 BCE, is a simple racing game - pieces are moved across a board, and the player who first gets all of their pieces across the board wins. Cairo, on the other hand, represents a board piece who will never win. After all, she gets to the end, and when she does, she’s brought right back to the beginning, in a never ending cycle of life and death. The concept of resurrection and return is also referenced in the premise of Senet itself - two cells on the game’s board, #15 and #27, are respectively entitled The House of Resurrection and The House of Water. Landing on The House of Water and “rolling” low forces the piece back to The House of Resurrection. Similarly, Remember The Time kills Cairo by drowning her every thirty-seven years, before forcing her back to beginning of lifespan, just so that the cycle can repeat again. Cairo herself is also a kind of reference to the first Yu-Gi-Oh series, with her role as “Guardian of the Tombs” a sort of parallel to Ishizu Ishtar (or Isis Ishtar in the 4Kids dub of the series). Additionally, Remember The Time’s killing of its own user is also a reference to the duel between Ishizu and Kaiba, during which the Millennium Necklace’s predictions led to Ishizu’s own downfall during her duel with everybody’s favorite dragon wielding businessman.
I don’t want the flair.
If I win, I would like next week’s theme to be: terrifying Stands which are used for good.
submitted by Fisherwolf34 to fanStands [link] [comments]


2020.05.14 16:17 sabatonsungwrong Wikipedia chair

Chair

From Wikipedia, the free encyclopedia
Chair, circa 1772, mahogany, covered in modern red morocco leather, height: 97.2 cm, Metropolitan Museum of Art (New York City)
A bronze chair leg (dating back to 12th century), from Angkor (Cambodia) and crafted in Angkor Wat style One of the basic pieces of furniture, a chair is a type of seat. Its primary features are two pieces of a durable material, attached as back and seat to one another at a 90° or slightly greater angle, with usually the four corners of the horizontal seat attached in turn to four legs—or other parts of the seat's underside attached to three legs or to a shaft about which a four-arm turnstile on rollers can turn—strong enough to support the weight of a person who sits on the seat (usually wide and broad enough to hold the lower body from the buttocks almost to the knees) and leans against the vertical back (usually high and wide enough to support the back to the shoulder blades). The legs are typically high enough for the seated person's thighs and knees to form a 90° or lesser angle.[1][2] Used in a number of rooms in homes (e.g. in living rooms, dining rooms, and dens)), in schools and offices (with desks), and in various other workplaces, chairs may be made of wood, metal, or synthetic materials, and either the seat alone or the entire chair may be padded or upholstered in various colors and fabrics. Chairs vary in design. An armchair has armrests fixed to the seat;[3] a recliner is upholstered and under its seat is a mechanism that allows one to lower the chair's back and raise into place a fold-out footrest;[4] a rocking chair has legs fixed to two long curved slats; a wheelchair has wheels fixed to an axis under the seat.[5] Contents 1Etymology2History3Materials4Design and ergonomics4.1Armrests5Seats6Standards and specifications7Accessories8As sculptural and art forms9In language10See also11References12Further reading EtymologyChair comes from the early 13th-century English word chaere, from Old French chaiere ("chair, seat, throne"), from Latin cathedra ("seat").[6] HistoryMain article: History of the chair Five three-legged chairs around a low-legged table from Sliven 19th Century Lifestyle Museum Early 20th-century armchair made in eastern Australia, with strong heraldic embellishment The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom[7] and Canada,[8] and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'.[9] Endowed professorships are referred to as chairs.[10] It was not until the 16th century that chairs became common.[11] Until then, people sat on chests), benches), and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin.[citation needed] Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high.[12] In ancient Egypt chairs appear to have been of great richness and splendor. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honor. On state occasions the pharaoh sat on a throne, often with a little footstool in front of it.[13] The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor.[12] The Monobloc) chair is a lightweight stackable polypropylene chair, usually white in colour, often described as the world's most common plastic chair.[14] The earliest images of chairs in China are from sixth-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It wasn't until the twelfth century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the seventh century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level.[15] In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day.[16] In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears. Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available.[17] The Sacco chair, designed in 1968, is now the basis of bean bag chairs The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[citation needed] moulded plastic chairs and ergonomic chairs.[18] The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair) that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966.[19] Technological advances led to molded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.[20] Materials Metal chairs in the Tuileries Garden, Paris, France Chairs can be made from wood, metal, or other strong materials, like stone or acrylic. In some cases, multiple materials are used to construct a chair; for example, the legs and frame may be made from metal and the seat and back may be made from plastic. Chairs may have hard surfaces of wood, metal, plastic, or other materials, or some or all of these hard surfaces may be covered with upholstery or padding. The design may be made of porous materials, or be drilled with holes for decoration; a low back or gaps can provide ventilation). The back may extend above the height of the occupant's head, which can optionally contain a headrest. Chairs can also be made from more creative materials, such as recycled materials like cutlery and wooden play bricks, pencils, plumbing tubes, rope, corrugated cardboard, and PVC pipe.[21] In rare cases, chairs are made out of unusual materials, especially as a form of art or experimentation. Raimonds Cirulis, a Latvian interior designer, created a volcanic hanging chair that is a handmade out of volcanic rock.[22][23] Peter Brenner, a Dutch-born German designer, has created a chair made from lollipop sugar – 60 pounds (27 kg) of confectioners' sugar.[24] Design and ergonomics S Chair, designed by Verner Panton
The difference between leg room and seat pitch Chair design considers intended usage, ergonomics (how comfortable it is for the occupant),[25] as well as non-ergonomic functional requirements such as size, stacking ability, folding ability, weight, durability, stain resistance, and artistic design. Intended usage determines the desired seating position. "Task chairs", or any chair intended for people to work at a desk or table, including dining chairs, can only recline very slightly; otherwise the occupant is too far away from the desk or table. Dental chairs are necessarily reclined. Easy chairs for watching television or movies are somewhere in between depending on the height of the screen. Ergonomic design distributes the weight of the occupant to various parts of the body. A seat that is higher results in dangling feet and increased pressure on the underside of the knees ("popliteal fold"). It may also result in no weight on the feet which means more weight elsewhere. A lower seat may shift too much weight to the "seat bones" ("ischial tuberosities"). A reclining seat and back will shift weight to the occupant's back. This may be more comfortable for some in reducing weight on the seat area, but may be problematic for others who have bad backs. In general, if the occupant is supposed to sit for a long time, weight needs to be taken off the seat area and thus "easy" chairs intended for long periods of sitting are generally at least slightly reclined. However, reclining may not be suitable for chairs intended for work or eating at table. The back of the chair will support some of the weight of the occupant, reducing the weight on other parts of the body. In general, backrests come in three heights: Lower back backrests support only the lumbar region. Shoulder height backrests support the entire back and shoulders. Headrests support the head as well and are important in vehicles for preventing "whiplash)" neck injuries in rear-end collisions where the head is jerked back suddenly. Reclining chairs typically have at least shoulder-height backrests to shift weight to the shoulders instead of just the lower back. Some chairs have foot rests. Around 15% of women and 2% of men need foot rests, even at the 16-inch (41 cm) chair height.[26] A stool or other simple chair may have a simple straight or curved bar near the bottom for the sitter to place their feet on. Some chairs have two curved bands of wood (also known as rockers) attached to the bottom of the legs. They are called rocking chairs. The type of chair popular in western Hubei, China: with a fairly low seat and the back inclined at about 45 degrees from the vertical A kneeling chair adds an additional body part, the knees, to support the weight of the body. A sit-stand chair distributes most of the weight of the occupant to the feet. Many chairs are padded or have cushions. Padding can be on the seat of the chair only, on the seat and back, or also on any arm rests or foot rest the chair may have. Padding will not shift the weight to different parts of the body (unless the chair is so soft that the shape is altered). However, padding does distribute the weight by increasing the area of contact between the chair and the body. A hard wood chair feels hard because the contact point between the occupant and the chair is small. The same body weight over a smaller area means greater pressure on that area. Spreading the area reduces the pressure at any given point. In lieu of padding, flexible materials, such as wicker, may be used instead with similar effects of distributing the weight. Since most of the body weight is supported in the back of the seat, padding there should be firmer than the front of the seat which only has the weight of the legs to support. Chairs that have padding that is the same density front and back will feel soft in the back area and hard to the underside of the knees. There may be cases where padding is not desirable, such as chairs that are intended primarily for outdoor use. Where padding is not desirable, contouring may be used instead. A contoured seat pan attempts to distribute weight without padding. By matching the shape of the occupant's buttocks, weight is distributed and maximum pressure is reduced. Churchchairs Actual chair dimensions are determined by measurements of the human body or anthropometric measurements. The two most relevant anthropometric measurement for chair design is the popliteal height and buttock popliteal length. For someone seated, the popliteal height is the distance from the underside of the foot to the underside of the thigh at the knees. It is sometimes called the "stool height". The term "sitting height" is reserved for the height to the top of the head when seated. For American men, the median popliteal height is 16.3 inches (410 mm) and for American women it is 15.0 inches (380 mm).[27] The popliteal height, after adjusting for heels, clothing and other issues, is used to determine the height of the chair seat. Mass-produced chairs are typically 17 inches (430 mm) high.[citation needed] For someone seated, the buttock popliteal length is the horizontal distance from the back most part of the buttocks to the back of the lower leg. This anthropometric measurement is used to determine the seat depth. Mass-produced chairs are typically 15–17 inches (38–43 cm) deep.[citation needed] Additional anthropometric measurements may be relevant to designing a chair. Research has shown that the best seated posture is a reclined posture of 100°–110°.[28] Hip breadth is used for chair width and armrest width. Elbow rest height is used to determine the height of the armrests. The buttock-knee length is used to determine "leg room" between rows of chairs. "Seat pitch" is the distance between rows of seats. In some airplanes and stadiums the leg room (the seat pitch less the thickness of the seat at thigh level) is so small that it is sometimes insufficient for the average person. For adjustable chairs, such as an office chair, the aforementioned principles are applied in adjusting the chair to the individual occupant. Caster wheels are attached to the feet of chairs to give more mobility. Gas springs are attached to the body of the chair in order to give height adjustment and more comfort to the user.
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2020.05.09 23:35 toasty267 The chair

One of the basic pieces of furniture, a chair is a type of seat. Its primary features are two pieces of a durable material, attached as back and seat to one another at a 90° or slightly greater angle, with usually the four corners of the horizontal seat attached in turn to four legs—or other parts of the seat's underside attached to three legs or to a shaft about which a four-arm turnstile on rollers can turn—strong enough to support the weight of a person who sits on the seat (usually wide and broad enough to hold the lower body from the buttocks almost to the knees) and leans against the vertical back (usually high and wide enough to support the back to the shoulder blades). The legs are typically high enough for the seated person's thighs and knees to form a 90° or lesser angle.[1][2] Used in a number of rooms in homes (e.g. in living rooms, dining rooms, and dens)), in schools and offices (with desks), and in various other workplaces, chairs may be made of wood, metal, or synthetic materials, and either the seat alone or the entire chair may be padded or upholstered in various colors and fabrics.
Chairs vary in design. An armchair has armrests fixed to the seat;[3] a recliner is upholstered and under its seat is a mechanism that allows one to lower the chair's back and raise into place a fold-out footrest;[4] a rocking chair has legs fixed to two long curved slats; a wheelchair has wheels fixed to an axis under the seat.[5]
The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom[7] and Canada,[8] and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'.[9] Endowed professorships are referred to as chairs.[10] It was not until the 16th century that chairs became common.[11] Until then, people sat on chests), benches), and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin.[citation needed]
Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high.[12] In ancient Egypt chairs appear to have been of great richness and splendor. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honor. On state occasions the pharaoh sat on a throne, often with a little footstool in front of it.[13]
The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor.[12]
📷The Monobloc) chair is a lightweight stackable polypropylene chair, usually white in colour, often described as the world's most common plastic chair.[14]
The earliest images of chairs in China are from sixth-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It wasn't until the twelfth century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the seventh century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level.[15]
In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day.[16]
In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears. Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available.[17]
📷The Sacco chair, designed in 1968, is now the basis of bean bag chairs
The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[citation needed] moulded plastic chairs and ergonomic chairs.[18] The recliner became a popular form, at least in part due to radio and television.
The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair) that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966.[19] Technological advances led to molded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.[20]
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2020.05.05 11:22 SamPyc Paul McCartney Solo Album Ratings (1981 - Present)

Alright last part! Same rules as per usual, no live albums, didn't include The Fireman, Twin Freaks, or any of his classical works. Ratings are only in relations to McCartney's other works.
Tug of War -
As much as I love McCartney II, it’s this album that is truly the beginning of a new era in Paul’s discography. It’s the first of three collaborations with George Martin he’ll have in his solo career, and it’s the first of a quadrilogy of albums featuring collaborations with other artists (Stevie Wonder here). It’s also the first album he made after Lennon’s death. This album includes the beautiful “Wanderlust,” the pure 80s “Dress Me Up as a Robber,” and the fantastic “Ballroom Dancing.” Of course I have to mention the two Stevie Wonder songs as well, first there’s “What’s That You’re Doing,” a pretty basic (read 80s) but altogether well made song. And then there’s “Ebony and Ivory.” What can I say about “Ebony and Ivory” that hasn’t already been said. It honestly took this album down half a point. The lyrics are truly terrible and just plain lazy. I still definitely recommend this album, thankfully “Ebony and Ivory” is the last song so it’s easy to skip.
Favorite Song: “Here Today” Much better than George Harrison’s “All Those Years Ago,” this song is a perfect tribute to Lennon.
Album Score: 8.5/10
Pipes of Peace -
Second in the quadrilogy of collaborations, this time with Michael Jackson. First thing I have to mention is the Jackson songs: “Say Say Say” and “The Man.” While the lyrics of “Say Say Say” are unfortunately as lazy as “Ebony and Ivory” (admittedly in a whole different way) the music is great and McCartney and Jackson work perfectly together. As for “The Man,” while I would say the lyrics are pretty nothing (not necessarily as bad as “Say Say Say”) McCartney and Jackson still work perfectly together, though I still prefer “Say Say Say.” “Keep Under Cover,” “Sweetest Little Show,” and “Average Person” are all pretty fun, and I also have a soft spot for “The Other Me.” Overall, this album’s pretty okay! But I can’t go any further with praise. This is very much an inferior version of Tug of War, but I guess if you really like that album and want some more, this is your best bet.
Favorite Song: “Pipes of Peace” As I’ve said before, I’m a sucker for a good title track.
Album Score: 7/10
Give My Regards to Broad Street -
This album is a soundtrack for the movie of the same name, also written by McCartney. I haven’t seen it yet, but by all accounts it’s pretty bad. It’s also the final McCartney album produced by George Martin, who produced the previous two as well. Give My Regards to Broad Street is generally maligned for the inferior covers of Beatles and McCartney songs included, and while that is generally true, inferior doesn’t necessarily mean bad, it just means less good as is the case with most (but not all) songs here. For instance, this rendition of “Yesterday” is perfectly okay, but compared to the perfect original version you just have to ask: Why? The only truly bad version of an otherwise good song is “Ballroom Dancing,” though that could just have to do with weird love for the original. Otherwise most of these do-overs (that’s really all they are) are just simply not as good as their originals.
Of the three original songs on here (or four if you go with the CD) “No More Lonely Nights (Ballad)” is the only memorable song. You know what, that’s an understatement, “No More Lonely Nights (Ballad)” is great! Of course I need to clarify it’s the ballad, which is the opening track, and not the playout version which is pretty bad. Overall skip the album, stick to the version of “No More Lonely Nights” in the Best Ofs.
Favorite Song: “No More Lonely Nights (Ballad)” The only one of the three original songs that anyone remembers is actually great, and maybe makes the whole album worth it. Probably not, but maybe.
Album Score: 5/10
Press to Play -
One of his most dated albums, Press to Play starts off strong, but fizzles (crashes) at the end. Eric Stewart, of 10cc (a favorite band of mine), co-wrote more than half of the songs on this album, and while he doesn’t take any major vocal parts in any songs, he still plays guitar on some tracks so I’m counting it as the third in the quadrilogy. The opening track “Stranglehold” is pretty strong, and the album gains some good faith with the second song “Good Times Coming/Feel the Sun” a medley, and even the second side starts of relatively strong with “Press,” one of the more traditional McCartney songs on here. Unfortunately most of the other songs on here fall trap to the 80s. Hard. That’s not necessarily a bad thing (I say that a lot) but I genuinely dislike “Talk More Talk,” and “Angry.” I do however love the first two minutes of “However Absurd,” but then it just keeps going. You may think that because of all this I also straight up dislike the album as whole, but truth be told I think this album is actually pretty okay (as a whole), it at least has a unique sound. Give this album a single listen, if you like it, you like it, if you don’t, you don’t.
Favorite Song: “Good Times Coming/Feel the Sun” An interesting medley, though much like the album as a whole kind of falls off in the second half.
Album Score: 5.5/10
Choba B CCCP (Russian Album) -
His first cover album, this album was actually recorded live in-studio, and released exclusively in Russia for three years. The opening song “Kansas City” was previously covered in the Beatles album Beatles For Sale (titled “Kansas City”/“Hey Hey Hey”), and though it may be controversial, I actually prefer this version, as McCartney seems to have a bit more energy here. The same can definitely be said for “Lucille,” and “Crackin’ Up.” There’s just great energy in his performances. Honestly that can really be said for the whole album. It sounds like McCartney’s having fun here, just playing some songs he loves. The song choice is excellent (I actually recognize most of the songs here), and I quite like the overall sound of this album. Definitely recommend this to people that are okay with cover albums.
Favorite Song: “Bring It On Home to Me” Also covered in Lennon’s Rock’n’Roll, this R&B song is perfect. I’m also just a fan of Sam Cooke.
Album Score: 8.5/10
Flowers in the Dirt -
The final part in the quadrilogy (collaborating with Elvis Costello this time) is my least favorite of the bunch. Most of these songs sound pretty similar to me, which on the one hand I appreciate; I like albums with clear through lines. That’s especially a triumph when you have at least eight different producers on a single album. However it’s not great when I have trouble telling songs apart. I guess their quality is pretty good, but I just can’t get into it myself. The only real memorable song here is the opening track “My Brave Face,” and even that I have trouble remembering anything other than the title from the song. It’s not from lack of trying that I dislike this album, I’ve listened to it at least three times since I started writing my McCartney ratings. As I said, I truly believe the production here is surprisingly good, and most of the music itself is fine enough (though I couldn’t even begin to explain the vocals in “Figure of Eight”). I’m genuinely sorry that I don’t get it. I can’t recommend this based on my experience.
Favorite Song: “Put it There” Probably the most basic song on here, I just love the straightforwardness of it.
Album Score: 6.5/10 (I know it has a much higher score than Press to Play, but that’s purely based on technical merit)
Off the Ground -
Probably one of his most average albums, I don’t really have much to say about Off the Ground. Ironically, as this was another album he recorded live in-studio, it sounds quite grounded. There are definitely some good songs on here: “Off the Ground,” “Hope of Deliverance,” “Peace in the Neighborhood,” “Golden Earth Girl,” and “Winedark Open Sea” all come to me as good songs, and they’re memorable enough, but only one of them is really great. “Looking for Changes” isn’t a particularly subtle animal rights song, which definitely works against it as a song. “Mistress and Maid,” and “The Lovers That Never Were” were both cowritten by Elvis Costello, leftovers from when they worked together on Flowers in the Dirt. They’re both definitely two of the stronger songs on here lyrically, though musically the latter is quite bland. That can actually describe most of the songs on here: musically bland. This album just isn’t worth it.
Favorite Song: “Hope of Deliverance”
Album Score: 6/10
Flaming Pie -
One of my personal favorites (waiting not so patiently for the Archive Collection edition) Flaming Pie is a real return to form for McCartney. This album has everything: “Somedays,” “Calico Skies,” “Heaven on a Sunday,” and “Little Willow” all form a sort of bloc of beauty, while songs like “The World Tonight,” “If You Wanna,” and “Used to Be Bad” (including a duet with Steve Miller) are all subdued rockers. That’s the thing about this album, McCartney shows an odd level of restraint musically, while also being at one of the most creative points of his career. It’s also interesting that the songs with similar tones aren’t consecutive tracks, and are instead spread throughout the album. While normally I would dislike that and think that takes away from the album as a work itself, it actually works very well, effectively keeping interest. It all feels very natural. I give a very strong recommendation for Flaming Pie.
Favorite Song: “Calico Skies” Recorded almost five years before release, this is just a beautiful love song.
Album Score: 10/10
Run Devil Run -
This is what a cover album should be. It’s perfect. From the covers, to the three original songs (Three!(It’s a good thing this time)) everything here fits. On his originals: “Run Devil Run” is pure energy, “Try Not to Cry” is just as good as any other song on here, and “What It Is” is actually a tribute to Linda (who had passed the year prior) that again fits perfectly in here. As for the song picks, some of them are pretty obscure (though still great), so his band had never heard them before. He would actually show them how they went for fifteen to twenty minutes (without having them listen to the original versions). The effect of that really helps differentiate this from other cover albums like his previous attempt as well as Lennon’s. Highly recommend this, even if you don’t normally like cover albums these songs just Rock.
Favorite Song: “No Other Baby” This is probably one of the hardest picks for me, because they’re all just so great.
Album Score: 10/10
Driving Rain -
If I had to describe this album in one word, it would be “Long.” Like unnecessarily long. Both the album itself as well as the individual songs are all too long. There are six songs over four minutes long including the ten minute “Rinse the Raindrops.” “She’s Given Up Talking” would probably be my favorite song if it was cut in half. “Tiny Bubble” and “Spinning on an Axis” (cowritten by James McCartney) could also afford to be shortened a little bit. The only longer song on here I like is “Riding Into Jaipur,” which is the most unique song on here by far. I do however like “I Do,” “Your Way,” and “Heather” despite everything. There’s definitely some great stuff hidden in here, so I would recommend listening to this album in parts (not all at once, that would be a drag) and creating your own much shorter playlist version.
Favorite Song: “Riding Into Jaipur” As I said, it’s the most unique song here, and it reminds a little bit of George Harrison.
Album Score: 7/10
Chaos and Creation in the Backyard -
This album may be my favorite standard McCartney album (that is not including McCartney II), it’s definitely my most listened to. Every song here is memorable from the beautiful ballad “Jenny Wren” to the beautiful imagery of (the somewhat fun) “English Tea.” The inherent sad in “Too Much Rain,” to the uplifting in “How Kind of You.” If I had to describe this album in one word it would be “beautiful.” Most of the songs here are incredibly sentimental, without being soppy like McCartney tends to fall trap to. There are really only two outliers in the whole album: “Promise to You Girl,” and the hidden track “I’ve Only Got Two Hands.” The former is definitely the most upbeat, and fastest song on here, and the latter is an instrumental that starts off pretty rock heavy. While they’re not bad by themselves (yes even the instrumental) they don’t fully fit, and “I’ve Only Got Two Hands” is a pretty weird way to end such an album. Also of note is that only two of the fourteen tracks here go over four minutes. I very highly recommend this album!
Favorite Song: “Too Much Rain” Again, every song here is memorable, and I love them all equally. Some are more equal than others.
Album Score: 10/10
Memory Almost Full -
Sixty-four at the times of its release, Memory Almost Full is one of McCartney’s poppier albums, despite the fact that he seems to have truly embraced his age as Old Man McCartney. Most of the songs here actually have to do with his aging, especially “Ever Present Past,” “That Was Me,” and “The End of the End.” There are really only two songs on here I don’t like: “House of Wax” and “Nod Your Head,” but, luckily the song in between them (“The End of the End”) makes up for them and then some. I just wish it didn’t end with “Nod Your Head.” Aside from that it’s a very solid effort from Old Man McCartney. I definitely recommend this album.
Favorite Song: “Mr. Bellamy” Not much to say about it, other than it’s a great song.
Album Score: 8.5/10
Kisses on the Bottom -
If I had to describe this Kisses on the Bottom in one word, it would be “Nice.” It’s just an overall nice sounding album. Though this is his second best cover album it’s also my least listened to, it’s very much quiet mood music. Paul himself viewed making this album as being on “holiday,” and that very much comes through; He sounds relaxed and comfortable singing these old tunes from childhood (admittedly only some were from childhood, he hadn’t heard of some others).
“The Glory of Love,” “We There (My Echo, My Shadows, and Me),” and “Bye Bye Blackbird” are all beautiful songs, especially great in that they showcase Old Man McCartney’s vocals perfectly. Of his two originals here “Only Our Hearts” is the weaker one despite Stevie Wonder’s harmonica playing. I recommend this easy-listening album to people in the mood for some easy-listening music. I know that sounds redundant, but I felt that I should still say it.
Favorite Song: “My Valentine” This song is a feat. It truly captures the essence of what he was going for. Also of note is that Eric Clapton is playing the guitar here.
Album Score: 8.5/10
New -
Not quite as great as his past two, but that could just be my Old Man McCartney bias coming through. This is even more pop than Memory Almost Full. It’s much more fun than the slightly meditative Memory Almost Full, though it does still have it’s more serious moments in the form of “Early Days,” and “Hosanna.” That’s not to knock the pop songs like the great “Queenie Eye,” “I Can Bet,” and “Looking at Her” (I could honestly go on to name every other song on this album, but I decided it was best to stop at three).
Favorite Song: “Early Days” Old Man McCartney is at it again!
Album Score: 8/10
Egypt Station -
His most recent album, Paul McCartney was seventy-six at the time of its release. It’s opening track “I Don’t Know” makes it seem as if Old Man McCartney is truly embracing his age, and that this album will be an even further extension of Memory Almost Full, but of course it’s immediately followed up by the catchy but comparatively shallow “Come On to Me.” It’s as if he can’t decide wether he’s okay with his age or not. “Happy With You,” “Confidante”(written about his guitar), “ and “Do It Now” all suggest he is, but then you have the utterly dreadful “Fuh You,” suggesting that no, he is not okay with it. At all. Of course two songs can’t take everything away from an otherwise okay album, but they do send mixed messages. I will say, although it doesn’t fit into my Old Man McCartney narrative, the ending medley (“Hunt You Down/Naked/C-Link”) is fantastic, I’m even okay with the instrumental third part. I would still recommend this whole album to anyone that has so far liked Old Man McCartney.
Favorite Song: “I Don’t Know” Pure, unadulterated Old Man McCartney is just great.
Album Score: 7/10

I don't know if I might do a Beatles one next or not. I might do Lou Reed in between.
submitted by SamPyc to u/SamPyc [link] [comments]


2020.05.05 11:21 SamPyc My Paul McCartney Solo Album Ratings (1981 - Present)

Alright last part! Same rules as per usual, no live albums, didn't include The Fireman, Twin Freaks, or any of his classical works. Ratings are only in relations to McCartney's other works.
Tug of War -
As much as I love McCartney II, it’s this album that is truly the beginning of a new era in Paul’s discography. It’s the first of three collaborations with George Martin he’ll have in his solo career, and it’s the first of a quadrilogy of albums featuring collaborations with other artists (Stevie Wonder here). It’s also the first album he made after Lennon’s death. This album includes the beautiful “Wanderlust,” the pure 80s “Dress Me Up as a Robber,” and the fantastic “Ballroom Dancing.” Of course I have to mention the two Stevie Wonder songs as well, first there’s “What’s That You’re Doing,” a pretty basic (read 80s) but altogether well made song. And then there’s “Ebony and Ivory.” What can I say about “Ebony and Ivory” that hasn’t already been said. It honestly took this album down half a point. The lyrics are truly terrible and just plain lazy. I still definitely recommend this album, thankfully “Ebony and Ivory” is the last song so it’s easy to skip.
Favorite Song: “Here Today” Much better than George Harrison’s “All Those Years Ago,” this song is a perfect tribute to Lennon.
Album Score: 8.5/10
Pipes of Peace -
Second in the quadrilogy of collaborations, this time with Michael Jackson. First thing I have to mention is the Jackson songs: “Say Say Say” and “The Man.” While the lyrics of “Say Say Say” are unfortunately as lazy as “Ebony and Ivory” (admittedly in a whole different way) the music is great and McCartney and Jackson work perfectly together. As for “The Man,” while I would say the lyrics are pretty nothing (not necessarily as bad as “Say Say Say”) McCartney and Jackson still work perfectly together, though I still prefer “Say Say Say.” “Keep Under Cover,” “Sweetest Little Show,” and “Average Person” are all pretty fun, and I also have a soft spot for “The Other Me.” Overall, this album’s pretty okay! But I can’t go any further with praise. This is very much an inferior version of Tug of War, but I guess if you really like that album and want some more, this is your best bet.
Favorite Song: “Pipes of Peace” As I’ve said before, I’m a sucker for a good title track.
Album Score: 7/10
Give My Regards to Broad Street -
This album is a soundtrack for the movie of the same name, also written by McCartney. I haven’t seen it yet, but by all accounts it’s pretty bad. It’s also the final McCartney album produced by George Martin, who produced the previous two as well. Give My Regards to Broad Street is generally maligned for the inferior covers of Beatles and McCartney songs included, and while that is generally true, inferior doesn’t necessarily mean bad, it just means less good as is the case with most (but not all) songs here. For instance, this rendition of “Yesterday” is perfectly okay, but compared to the perfect original version you just have to ask: Why? The only truly bad version of an otherwise good song is “Ballroom Dancing,” though that could just have to do with weird love for the original. Otherwise most of these do-overs (that’s really all they are) are just simply not as good as their originals.
Of the three original songs on here (or four if you go with the CD) “No More Lonely Nights (Ballad)” is the only memorable song. You know what, that’s an understatement, “No More Lonely Nights (Ballad)” is great! Of course I need to clarify it’s the ballad, which is the opening track, and not the playout version which is pretty bad. Overall skip the album, stick to the version of “No More Lonely Nights” in the Best Ofs.
Favorite Song: “No More Lonely Nights (Ballad)” The only one of the three original songs that anyone remembers is actually great, and maybe makes the whole album worth it. Probably not, but maybe.
Album Score: 5/10
Press to Play -
One of his most dated albums, Press to Play starts off strong, but fizzles (crashes) at the end. Eric Stewart, of 10cc (a favorite band of mine), co-wrote more than half of the songs on this album, and while he doesn’t take any major vocal parts in any songs, he still plays guitar on some tracks so I’m counting it as the third in the quadrilogy. The opening track “Stranglehold” is pretty strong, and the album gains some good faith with the second song “Good Times Coming/Feel the Sun” a medley, and even the second side starts of relatively strong with “Press,” one of the more traditional McCartney songs on here. Unfortunately most of the other songs on here fall trap to the 80s. Hard. That’s not necessarily a bad thing (I say that a lot) but I genuinely dislike “Talk More Talk,” and “Angry.” I do however love the first two minutes of “However Absurd,” but then it just keeps going. You may think that because of all this I also straight up dislike the album as whole, but truth be told I think this album is actually pretty okay (as a whole), it at least has a unique sound. Give this album a single listen, if you like it, you like it, if you don’t, you don’t.
Favorite Song: “Good Times Coming/Feel the Sun” An interesting medley, though much like the album as a whole kind of falls off in the second half.
Album Score: 5.5/10
Choba B CCCP (Russian Album) -
His first cover album, this album was actually recorded live in-studio, and released exclusively in Russia for three years. The opening song “Kansas City” was previously covered in the Beatles album Beatles For Sale (titled “Kansas City”/“Hey Hey Hey”), and though it may be controversial, I actually prefer this version, as McCartney seems to have a bit more energy here. The same can definitely be said for “Lucille,” and “Crackin’ Up.” There’s just great energy in his performances. Honestly that can really be said for the whole album. It sounds like McCartney’s having fun here, just playing some songs he loves. The song choice is excellent (I actually recognize most of the songs here), and I quite like the overall sound of this album. Definitely recommend this to people that are okay with cover albums.
Favorite Song: “Bring It On Home to Me” Also covered in Lennon’s Rock’n’Roll, this R&B song is perfect. I’m also just a fan of Sam Cooke.
Album Score: 8.5/10
Flowers in the Dirt -
The final part in the quadrilogy (collaborating with Elvis Costello this time) is my least favorite of the bunch. Most of these songs sound pretty similar to me, which on the one hand I appreciate; I like albums with clear through lines. That’s especially a triumph when you have at least eight different producers on a single album. However it’s not great when I have trouble telling songs apart. I guess their quality is pretty good, but I just can’t get into it myself. The only real memorable song here is the opening track “My Brave Face,” and even that I have trouble remembering anything other than the title from the song. It’s not from lack of trying that I dislike this album, I’ve listened to it at least three times since I started writing my McCartney ratings. As I said, I truly believe the production here is surprisingly good, and most of the music itself is fine enough (though I couldn’t even begin to explain the vocals in “Figure of Eight”). I’m genuinely sorry that I don’t get it. I can’t recommend this based on my experience.
Favorite Song: “Put it There” Probably the most basic song on here, I just love the straightforwardness of it.
Album Score: 6.5/10 (I know it has a much higher score than Press to Play, but that’s purely based on technical merit)
Off the Ground -
Probably one of his most average albums, I don’t really have much to say about Off the Ground. Ironically, as this was another album he recorded live in-studio, it sounds quite grounded. There are definitely some good songs on here: “Off the Ground,” “Hope of Deliverance,” “Peace in the Neighborhood,” “Golden Earth Girl,” and “Winedark Open Sea” all come to me as good songs, and they’re memorable enough, but only one of them is really great. “Looking for Changes” isn’t a particularly subtle animal rights song, which definitely works against it as a song. “Mistress and Maid,” and “The Lovers That Never Were” were both cowritten by Elvis Costello, leftovers from when they worked together on Flowers in the Dirt. They’re both definitely two of the stronger songs on here lyrically, though musically the latter is quite bland. That can actually describe most of the songs on here: musically bland. This album just isn’t worth it.
Favorite Song: “Hope of Deliverance”
Album Score: 6/10
Flaming Pie -
One of my personal favorites (waiting not so patiently for the Archive Collection edition) Flaming Pie is a real return to form for McCartney. This album has everything: “Somedays,” “Calico Skies,” “Heaven on a Sunday,” and “Little Willow” all form a sort of bloc of beauty, while songs like “The World Tonight,” “If You Wanna,” and “Used to Be Bad” (including a duet with Steve Miller) are all subdued rockers. That’s the thing about this album, McCartney shows an odd level of restraint musically, while also being at one of the most creative points of his career. It’s also interesting that the songs with similar tones aren’t consecutive tracks, and are instead spread throughout the album. While normally I would dislike that and think that takes away from the album as a work itself, it actually works very well, effectively keeping interest. It all feels very natural. I give a very strong recommendation for Flaming Pie.
Favorite Song: “Calico Skies” Recorded almost five years before release, this is just a beautiful love song.
Album Score: 10/10
Run Devil Run -
This is what a cover album should be. It’s perfect. From the covers, to the three original songs (Three!(It’s a good thing this time)) everything here fits. On his originals: “Run Devil Run” is pure energy, “Try Not to Cry” is just as good as any other song on here, and “What It Is” is actually a tribute to Linda (who had passed the year prior) that again fits perfectly in here. As for the song picks, some of them are pretty obscure (though still great), so his band had never heard them before. He would actually show them how they went for fifteen to twenty minutes (without having them listen to the original versions). The effect of that really helps differentiate this from other cover albums like his previous attempt as well as Lennon’s. Highly recommend this, even if you don’t normally like cover albums these songs just Rock.
Favorite Song: “No Other Baby” This is probably one of the hardest picks for me, because they’re all just so great.
Album Score: 10/10
Driving Rain -
If I had to describe this album in one word, it would be “Long.” Like unnecessarily long. Both the album itself as well as the individual songs are all too long. There are six songs over four minutes long including the ten minute “Rinse the Raindrops.” “She’s Given Up Talking” would probably be my favorite song if it was cut in half. “Tiny Bubble” and “Spinning on an Axis” (cowritten by James McCartney) could also afford to be shortened a little bit. The only longer song on here I like is “Riding Into Jaipur,” which is the most unique song on here by far. I do however like “I Do,” “Your Way,” and “Heather” despite everything. There’s definitely some great stuff hidden in here, so I would recommend listening to this album in parts (not all at once, that would be a drag) and creating your own much shorter playlist version.
Favorite Song: “Riding Into Jaipur” As I said, it’s the most unique song here, and it reminds a little bit of George Harrison.
Album Score: 7/10
Chaos and Creation in the Backyard -
This album may be my favorite standard McCartney album (that is not including McCartney II), it’s definitely my most listened to. Every song here is memorable from the beautiful ballad “Jenny Wren” to the beautiful imagery of (the somewhat fun) “English Tea.” The inherent sad in “Too Much Rain,” to the uplifting in “How Kind of You.” If I had to describe this album in one word it would be “beautiful.” Most of the songs here are incredibly sentimental, without being soppy like McCartney tends to fall trap to. There are really only two outliers in the whole album: “Promise to You Girl,” and the hidden track “I’ve Only Got Two Hands.” The former is definitely the most upbeat, and fastest song on here, and the latter is an instrumental that starts off pretty rock heavy. While they’re not bad by themselves (yes even the instrumental) they don’t fully fit, and “I’ve Only Got Two Hands” is a pretty weird way to end such an album. Also of note is that only two of the fourteen tracks here go over four minutes. I very highly recommend this album!
Favorite Song: “Too Much Rain” Again, every song here is memorable, and I love them all equally. Some are more equal than others.
Album Score: 10/10
Memory Almost Full -
Sixty-four at the times of its release, Memory Almost Full is one of McCartney’s poppier albums, despite the fact that he seems to have truly embraced his age as Old Man McCartney. Most of the songs here actually have to do with his aging, especially “Ever Present Past,” “That Was Me,” and “The End of the End.” There are really only two songs on here I don’t like: “House of Wax” and “Nod Your Head,” but, luckily the song in between them (“The End of the End”) makes up for them and then some. I just wish it didn’t end with “Nod Your Head.” Aside from that it’s a very solid effort from Old Man McCartney. I definitely recommend this album.
Favorite Song: “Mr. Bellamy” Not much to say about it, other than it’s a great song.
Album Score: 8.5/10
Kisses on the Bottom -
If I had to describe this Kisses on the Bottom in one word, it would be “Nice.” It’s just an overall nice sounding album. Though this is his second best cover album it’s also my least listened to, it’s very much quiet mood music. Paul himself viewed making this album as being on “holiday,” and that very much comes through; He sounds relaxed and comfortable singing these old tunes from childhood (admittedly only some were from childhood, he hadn’t heard of some others).
“The Glory of Love,” “We There (My Echo, My Shadows, and Me),” and “Bye Bye Blackbird” are all beautiful songs, especially great in that they showcase Old Man McCartney’s vocals perfectly. Of his two originals here “Only Our Hearts” is the weaker one despite Stevie Wonder’s harmonica playing. I recommend this easy-listening album to people in the mood for some easy-listening music. I know that sounds redundant, but I felt that I should still say it.
Favorite Song: “My Valentine” This song is a feat. It truly captures the essence of what he was going for. Also of note is that Eric Clapton is playing the guitar here.
Album Score: 8.5/10
New -
Not quite as great as his past two, but that could just be my Old Man McCartney bias coming through. This is even more pop than Memory Almost Full. It’s much more fun than the slightly meditative Memory Almost Full, though it does still have it’s more serious moments in the form of “Early Days,” and “Hosanna.” That’s not to knock the pop songs like the great “Queenie Eye,” “I Can Bet,” and “Looking at Her” (I could honestly go on to name every other song on this album, but I decided it was best to stop at three).
Favorite Song: “Early Days” Old Man McCartney is at it again!
Album Score: 8/10
Egypt Station -
His most recent album, Paul McCartney was seventy-six at the time of its release. It’s opening track “I Don’t Know” makes it seem as if Old Man McCartney is truly embracing his age, and that this album will be an even further extension of Memory Almost Full, but of course it’s immediately followed up by the catchy but comparatively shallow “Come On to Me.” It’s as if he can’t decide wether he’s okay with his age or not. “Happy With You,” “Confidante”(written about his guitar), “ and “Do It Now” all suggest he is, but then you have the utterly dreadful “Fuh You,” suggesting that no, he is not okay with it. At all. Of course two songs can’t take everything away from an otherwise okay album, but they do send mixed messages. I will say, although it doesn’t fit into my Old Man McCartney narrative, the ending medley (“Hunt You Down/Naked/C-Link”) is fantastic, I’m even okay with the instrumental third part. I would still recommend this whole album to anyone that has so far liked Old Man McCartney.
Favorite Song: “I Don’t Know” Pure, unadulterated Old Man McCartney is just great.
Album Score: 7/10

I don't know if I might do a Beatles one next or not. I might do Lou Reed in between.
submitted by SamPyc to Music [link] [comments]


2020.05.05 11:20 SamPyc My McCartney Solo Album Ratings (1981 - Present)

Alright last part! Same rules as per usual, no live albums, didn't include The Fireman, Twin Freaks, or any of his classical works. Ratings are only in relations to McCartney's other works.
Tug of War -
As much as I love McCartney II, it’s this album that is truly the beginning of a new era in Paul’s discography. It’s the first of three collaborations with George Martin he’ll have in his solo career, and it’s the first of a quadrilogy of albums featuring collaborations with other artists (Stevie Wonder here). It’s also the first album he made after Lennon’s death. This album includes the beautiful “Wanderlust,” the pure 80s “Dress Me Up as a Robber,” and the fantastic “Ballroom Dancing.” Of course I have to mention the two Stevie Wonder songs as well, first there’s “What’s That You’re Doing,” a pretty basic (read 80s) but altogether well made song. And then there’s “Ebony and Ivory.” What can I say about “Ebony and Ivory” that hasn’t already been said. It honestly took this album down half a point. The lyrics are truly terrible and just plain lazy. I still definitely recommend this album, thankfully “Ebony and Ivory” is the last song so it’s easy to skip.
Favorite Song: “Here Today” Much better than George Harrison’s “All Those Years Ago,” this song is a perfect tribute to Lennon.
Album Score: 8.5/10
Pipes of Peace -
Second in the quadrilogy of collaborations, this time with Michael Jackson. First thing I have to mention is the Jackson songs: “Say Say Say” and “The Man.” While the lyrics of “Say Say Say” are unfortunately as lazy as “Ebony and Ivory” (admittedly in a whole different way) the music is great and McCartney and Jackson work perfectly together. As for “The Man,” while I would say the lyrics are pretty nothing (not necessarily as bad as “Say Say Say”) McCartney and Jackson still work perfectly together, though I still prefer “Say Say Say.” “Keep Under Cover,” “Sweetest Little Show,” and “Average Person” are all pretty fun, and I also have a soft spot for “The Other Me.” Overall, this album’s pretty okay! But I can’t go any further with praise. This is very much an inferior version of Tug of War, but I guess if you really like that album and want some more, this is your best bet.
Favorite Song: “Pipes of Peace” As I’ve said before, I’m a sucker for a good title track.
Album Score: 7/10
Give My Regards to Broad Street -
This album is a soundtrack for the movie of the same name, also written by McCartney. I haven’t seen it yet, but by all accounts it’s pretty bad. It’s also the final McCartney album produced by George Martin, who produced the previous two as well. Give My Regards to Broad Street is generally maligned for the inferior covers of Beatles and McCartney songs included, and while that is generally true, inferior doesn’t necessarily mean bad, it just means less good as is the case with most (but not all) songs here. For instance, this rendition of “Yesterday” is perfectly okay, but compared to the perfect original version you just have to ask: Why? The only truly bad version of an otherwise good song is “Ballroom Dancing,” though that could just have to do with weird love for the original. Otherwise most of these do-overs (that’s really all they are) are just simply not as good as their originals.
Of the three original songs on here (or four if you go with the CD) “No More Lonely Nights (Ballad)” is the only memorable song. You know what, that’s an understatement, “No More Lonely Nights (Ballad)” is great! Of course I need to clarify it’s the ballad, which is the opening track, and not the playout version which is pretty bad. Overall skip the album, stick to the version of “No More Lonely Nights” in the Best Ofs.
Favorite Song: “No More Lonely Nights (Ballad)” The only one of the three original songs that anyone remembers is actually great, and maybe makes the whole album worth it. Probably not, but maybe.
Album Score: 5/10
Press to Play -
One of his most dated albums, Press to Play starts off strong, but fizzles (crashes) at the end. Eric Stewart, of 10cc (a favorite band of mine), co-wrote more than half of the songs on this album, and while he doesn’t take any major vocal parts in any songs, he still plays guitar on some tracks so I’m counting it as the third in the quadrilogy. The opening track “Stranglehold” is pretty strong, and the album gains some good faith with the second song “Good Times Coming/Feel the Sun” a medley, and even the second side starts of relatively strong with “Press,” one of the more traditional McCartney songs on here. Unfortunately most of the other songs on here fall trap to the 80s. Hard. That’s not necessarily a bad thing (I say that a lot) but I genuinely dislike “Talk More Talk,” and “Angry.” I do however love the first two minutes of “However Absurd,” but then it just keeps going. You may think that because of all this I also straight up dislike the album as whole, but truth be told I think this album is actually pretty okay (as a whole), it at least has a unique sound. Give this album a single listen, if you like it, you like it, if you don’t, you don’t.
Favorite Song: “Good Times Coming/Feel the Sun” An interesting medley, though much like the album as a whole kind of falls off in the second half.
Album Score: 5.5/10
Choba B CCCP (Russian Album) -
His first cover album, this album was actually recorded live in-studio, and released exclusively in Russia for three years. The opening song “Kansas City” was previously covered in the Beatles album Beatles For Sale (titled “Kansas City”/“Hey Hey Hey”), and though it may be controversial, I actually prefer this version, as McCartney seems to have a bit more energy here. The same can definitely be said for “Lucille,” and “Crackin’ Up.” There’s just great energy in his performances. Honestly that can really be said for the whole album. It sounds like McCartney’s having fun here, just playing some songs he loves. The song choice is excellent (I actually recognize most of the songs here), and I quite like the overall sound of this album. Definitely recommend this to people that are okay with cover albums.
Favorite Song: “Bring It On Home to Me” Also covered in Lennon’s Rock’n’Roll, this R&B song is perfect. I’m also just a fan of Sam Cooke.
Album Score: 8.5/10
Flowers in the Dirt -
The final part in the quadrilogy (collaborating with Elvis Costello this time) is my least favorite of the bunch. Most of these songs sound pretty similar to me, which on the one hand I appreciate; I like albums with clear through lines. That’s especially a triumph when you have at least eight different producers on a single album. However it’s not great when I have trouble telling songs apart. I guess their quality is pretty good, but I just can’t get into it myself. The only real memorable song here is the opening track “My Brave Face,” and even that I have trouble remembering anything other than the title from the song. It’s not from lack of trying that I dislike this album, I’ve listened to it at least three times since I started writing my McCartney ratings. As I said, I truly believe the production here is surprisingly good, and most of the music itself is fine enough (though I couldn’t even begin to explain the vocals in “Figure of Eight”). I’m genuinely sorry that I don’t get it. I can’t recommend this based on my experience.
Favorite Song: “Put it There” Probably the most basic song on here, I just love the straightforwardness of it.
Album Score: 6.5/10 (I know it has a much higher score than Press to Play, but that’s purely based on technical merit)
Off the Ground -
Probably one of his most average albums, I don’t really have much to say about Off the Ground. Ironically, as this was another album he recorded live in-studio, it sounds quite grounded. There are definitely some good songs on here: “Off the Ground,” “Hope of Deliverance,” “Peace in the Neighborhood,” “Golden Earth Girl,” and “Winedark Open Sea” all come to me as good songs, and they’re memorable enough, but only one of them is really great. “Looking for Changes” isn’t a particularly subtle animal rights song, which definitely works against it as a song. “Mistress and Maid,” and “The Lovers That Never Were” were both cowritten by Elvis Costello, leftovers from when they worked together on Flowers in the Dirt. They’re both definitely two of the stronger songs on here lyrically, though musically the latter is quite bland. That can actually describe most of the songs on here: musically bland. This album just isn’t worth it.
Favorite Song: “Hope of Deliverance”
Album Score: 6/10
Flaming Pie -
One of my personal favorites (waiting not so patiently for the Archive Collection edition) Flaming Pie is a real return to form for McCartney. This album has everything: “Somedays,” “Calico Skies,” “Heaven on a Sunday,” and “Little Willow” all form a sort of bloc of beauty, while songs like “The World Tonight,” “If You Wanna,” and “Used to Be Bad” (including a duet with Steve Miller) are all subdued rockers. That’s the thing about this album, McCartney shows an odd level of restraint musically, while also being at one of the most creative points of his career. It’s also interesting that the songs with similar tones aren’t consecutive tracks, and are instead spread throughout the album. While normally I would dislike that and think that takes away from the album as a work itself, it actually works very well, effectively keeping interest. It all feels very natural. I give a very strong recommendation for Flaming Pie.
Favorite Song: “Calico Skies” Recorded almost five years before release, this is just a beautiful love song.
Album Score: 10/10
Run Devil Run -
This is what a cover album should be. It’s perfect. From the covers, to the three original songs (Three!(It’s a good thing this time)) everything here fits. On his originals: “Run Devil Run” is pure energy, “Try Not to Cry” is just as good as any other song on here, and “What It Is” is actually a tribute to Linda (who had passed the year prior) that again fits perfectly in here. As for the song picks, some of them are pretty obscure (though still great), so his band had never heard them before. He would actually show them how they went for fifteen to twenty minutes (without having them listen to the original versions). The effect of that really helps differentiate this from other cover albums like his previous attempt as well as Lennon’s. Highly recommend this, even if you don’t normally like cover albums these songs just Rock.
Favorite Song: “No Other Baby” This is probably one of the hardest picks for me, because they’re all just so great.
Album Score: 10/10
Driving Rain -
If I had to describe this album in one word, it would be “Long.” Like unnecessarily long. Both the album itself as well as the individual songs are all too long. There are six songs over four minutes long including the ten minute “Rinse the Raindrops.” “She’s Given Up Talking” would probably be my favorite song if it was cut in half. “Tiny Bubble” and “Spinning on an Axis” (cowritten by James McCartney) could also afford to be shortened a little bit. The only longer song on here I like is “Riding Into Jaipur,” which is the most unique song on here by far. I do however like “I Do,” “Your Way,” and “Heather” despite everything. There’s definitely some great stuff hidden in here, so I would recommend listening to this album in parts (not all at once, that would be a drag) and creating your own much shorter playlist version.
Favorite Song: “Riding Into Jaipur” As I said, it’s the most unique song here, and it reminds a little bit of George Harrison.
Album Score: 7/10
Chaos and Creation in the Backyard -
This album may be my favorite standard McCartney album (that is not including McCartney II), it’s definitely my most listened to. Every song here is memorable from the beautiful ballad “Jenny Wren” to the beautiful imagery of (the somewhat fun) “English Tea.” The inherent sad in “Too Much Rain,” to the uplifting in “How Kind of You.” If I had to describe this album in one word it would be “beautiful.” Most of the songs here are incredibly sentimental, without being soppy like McCartney tends to fall trap to. There are really only two outliers in the whole album: “Promise to You Girl,” and the hidden track “I’ve Only Got Two Hands.” The former is definitely the most upbeat, and fastest song on here, and the latter is an instrumental that starts off pretty rock heavy. While they’re not bad by themselves (yes even the instrumental) they don’t fully fit, and “I’ve Only Got Two Hands” is a pretty weird way to end such an album. Also of note is that only two of the fourteen tracks here go over four minutes. I very highly recommend this album!
Favorite Song: “Too Much Rain” Again, every song here is memorable, and I love them all equally. Some are more equal than others.
Album Score: 10/10
Memory Almost Full -
Sixty-four at the times of its release, Memory Almost Full is one of McCartney’s poppier albums, despite the fact that he seems to have truly embraced his age as Old Man McCartney. Most of the songs here actually have to do with his aging, especially “Ever Present Past,” “That Was Me,” and “The End of the End.” There are really only two songs on here I don’t like: “House of Wax” and “Nod Your Head,” but, luckily the song in between them (“The End of the End”) makes up for them and then some. I just wish it didn’t end with “Nod Your Head.” Aside from that it’s a very solid effort from Old Man McCartney. I definitely recommend this album.
Favorite Song: “Mr. Bellamy” Not much to say about it, other than it’s a great song.
Album Score: 8.5/10
Kisses on the Bottom -
If I had to describe this Kisses on the Bottom in one word, it would be “Nice.” It’s just an overall nice sounding album. Though this is his second best cover album it’s also my least listened to, it’s very much quiet mood music. Paul himself viewed making this album as being on “holiday,” and that very much comes through; He sounds relaxed and comfortable singing these old tunes from childhood (admittedly only some were from childhood, he hadn’t heard of some others).
“The Glory of Love,” “We There (My Echo, My Shadows, and Me),” and “Bye Bye Blackbird” are all beautiful songs, especially great in that they showcase Old Man McCartney’s vocals perfectly. Of his two originals here “Only Our Hearts” is the weaker one despite Stevie Wonder’s harmonica playing. I recommend this easy-listening album to people in the mood for some easy-listening music. I know that sounds redundant, but I felt that I should still say it.
Favorite Song: “My Valentine” This song is a feat. It truly captures the essence of what he was going for. Also of note is that Eric Clapton is playing the guitar here.
Album Score: 8.5/10
New -
Not quite as great as his past two, but that could just be my Old Man McCartney bias coming through. This is even more pop than Memory Almost Full. It’s much more fun than the slightly meditative Memory Almost Full, though it does still have it’s more serious moments in the form of “Early Days,” and “Hosanna.” That’s not to knock the pop songs like the great “Queenie Eye,” “I Can Bet,” and “Looking at Her” (I could honestly go on to name every other song on this album, but I decided it was best to stop at three).
Favorite Song: “Early Days” Old Man McCartney is at it again!
Album Score: 8/10
Egypt Station -
His most recent album, Paul McCartney was seventy-six at the time of its release. It’s opening track “I Don’t Know” makes it seem as if Old Man McCartney is truly embracing his age, and that this album will be an even further extension of Memory Almost Full, but of course it’s immediately followed up by the catchy but comparatively shallow “Come On to Me.” It’s as if he can’t decide wether he’s okay with his age or not. “Happy With You,” “Confidante”(written about his guitar), “ and “Do It Now” all suggest he is, but then you have the utterly dreadful “Fuh You,” suggesting that no, he is not okay with it. At all. Of course two songs can’t take everything away from an otherwise okay album, but they do send mixed messages. I will say, although it doesn’t fit into my Old Man McCartney narrative, the ending medley (“Hunt You Down/Naked/C-Link”) is fantastic, I’m even okay with the instrumental third part. I would still recommend this whole album to anyone that has so far liked Old Man McCartney.
Favorite Song: “I Don’t Know” Pure, unadulterated Old Man McCartney is just great.
Album Score: 7/10

I don't know if I might do a Beatles one next or not. I might do someone else in between.
submitted by SamPyc to PaulMcCartney [link] [comments]


2020.05.05 11:19 SamPyc My Paul McCartney Solo Album Ratings (1981 - Present)

Alright last part! Same rules as per usual, no live albums, didn't include The Fireman, Twin Freaks, or any of his classical works. Ratings are only in relations to McCartney's other works.
Tug of War -
As much as I love McCartney II, it’s this album that is truly the beginning of a new era in Paul’s discography. It’s the first of three collaborations with George Martin he’ll have in his solo career, and it’s the first of a quadrilogy of albums featuring collaborations with other artists (Stevie Wonder here). It’s also the first album he made after Lennon’s death. This album includes the beautiful “Wanderlust,” the pure 80s “Dress Me Up as a Robber,” and the fantastic “Ballroom Dancing.” Of course I have to mention the two Stevie Wonder songs as well, first there’s “What’s That You’re Doing,” a pretty basic (read 80s) but altogether well made song. And then there’s “Ebony and Ivory.” What can I say about “Ebony and Ivory” that hasn’t already been said. It honestly took this album down half a point. The lyrics are truly terrible and just plain lazy. I still definitely recommend this album, thankfully “Ebony and Ivory” is the last song so it’s easy to skip.
Favorite Song: “Here Today” Much better than George Harrison’s “All Those Years Ago,” this song is a perfect tribute to Lennon.
Album Score: 8.5/10
Pipes of Peace -
Second in the quadrilogy of collaborations, this time with Michael Jackson. First thing I have to mention is the Jackson songs: “Say Say Say” and “The Man.” While the lyrics of “Say Say Say” are unfortunately as lazy as “Ebony and Ivory” (admittedly in a whole different way) the music is great and McCartney and Jackson work perfectly together. As for “The Man,” while I would say the lyrics are pretty nothing (not necessarily as bad as “Say Say Say”) McCartney and Jackson still work perfectly together, though I still prefer “Say Say Say.” “Keep Under Cover,” “Sweetest Little Show,” and “Average Person” are all pretty fun, and I also have a soft spot for “The Other Me.” Overall, this album’s pretty okay! But I can’t go any further with praise. This is very much an inferior version of Tug of War, but I guess if you really like that album and want some more, this is your best bet.
Favorite Song: “Pipes of Peace” As I’ve said before, I’m a sucker for a good title track.
Album Score: 7/10
Give My Regards to Broad Street -
This album is a soundtrack for the movie of the same name, also written by McCartney. I haven’t seen it yet, but by all accounts it’s pretty bad. It’s also the final McCartney album produced by George Martin, who produced the previous two as well. Give My Regards to Broad Street is generally maligned for the inferior covers of Beatles and McCartney songs included, and while that is generally true, inferior doesn’t necessarily mean bad, it just means less good as is the case with most (but not all) songs here. For instance, this rendition of “Yesterday” is perfectly okay, but compared to the perfect original version you just have to ask: Why? The only truly bad version of an otherwise good song is “Ballroom Dancing,” though that could just have to do with weird love for the original. Otherwise most of these do-overs (that’s really all they are) are just simply not as good as their originals.
Of the three original songs on here (or four if you go with the CD) “No More Lonely Nights (Ballad)” is the only memorable song. You know what, that’s an understatement, “No More Lonely Nights (Ballad)” is great! Of course I need to clarify it’s the ballad, which is the opening track, and not the playout version which is pretty bad. Overall skip the album, stick to the version of “No More Lonely Nights” in the Best Ofs.
Favorite Song: “No More Lonely Nights (Ballad)” The only one of the three original songs that anyone remembers is actually great, and maybe makes the whole album worth it. Probably not, but maybe.
Album Score: 5/10
Press to Play -
One of his most dated albums, Press to Play starts off strong, but fizzles (crashes) at the end. Eric Stewart, of 10cc (a favorite band of mine), co-wrote more than half of the songs on this album, and while he doesn’t take any major vocal parts in any songs, he still plays guitar on some tracks so I’m counting it as the third in the quadrilogy. The opening track “Stranglehold” is pretty strong, and the album gains some good faith with the second song “Good Times Coming/Feel the Sun” a medley, and even the second side starts of relatively strong with “Press,” one of the more traditional McCartney songs on here. Unfortunately most of the other songs on here fall trap to the 80s. Hard. That’s not necessarily a bad thing (I say that a lot) but I genuinely dislike “Talk More Talk,” and “Angry.” I do however love the first two minutes of “However Absurd,” but then it just keeps going. You may think that because of all this I also straight up dislike the album as whole, but truth be told I think this album is actually pretty okay (as a whole), it at least has a unique sound. Give this album a single listen, if you like it, you like it, if you don’t, you don’t.
Favorite Song: “Good Times Coming/Feel the Sun” An interesting medley, though much like the album as a whole kind of falls off in the second half.
Album Score: 5.5/10
Choba B CCCP (Russian Album) -
His first cover album, this album was actually recorded live in-studio, and released exclusively in Russia for three years. The opening song “Kansas City” was previously covered in the Beatles album Beatles For Sale (titled “Kansas City”/“Hey Hey Hey”), and though it may be controversial, I actually prefer this version, as McCartney seems to have a bit more energy here. The same can definitely be said for “Lucille,” and “Crackin’ Up.” There’s just great energy in his performances. Honestly that can really be said for the whole album. It sounds like McCartney’s having fun here, just playing some songs he loves. The song choice is excellent (I actually recognize most of the songs here), and I quite like the overall sound of this album. Definitely recommend this to people that are okay with cover albums.
Favorite Song: “Bring It On Home to Me” Also covered in Lennon’s Rock’n’Roll, this R&B song is perfect. I’m also just a fan of Sam Cooke.
Album Score: 8.5/10
Flowers in the Dirt -
The final part in the quadrilogy (collaborating with Elvis Costello this time) is my least favorite of the bunch. Most of these songs sound pretty similar to me, which on the one hand I appreciate; I like albums with clear through lines. That’s especially a triumph when you have at least eight different producers on a single album. However it’s not great when I have trouble telling songs apart. I guess their quality is pretty good, but I just can’t get into it myself. The only real memorable song here is the opening track “My Brave Face,” and even that I have trouble remembering anything other than the title from the song. It’s not from lack of trying that I dislike this album, I’ve listened to it at least three times since I started writing my McCartney ratings. As I said, I truly believe the production here is surprisingly good, and most of the music itself is fine enough (though I couldn’t even begin to explain the vocals in “Figure of Eight”). I’m genuinely sorry that I don’t get it. I can’t recommend this based on my experience.
Favorite Song: “Put it There” Probably the most basic song on here, I just love the straightforwardness of it.
Album Score: 6.5/10 (I know it has a much higher score than Press to Play, but that’s purely based on technical merit)
Off the Ground -
Probably one of his most average albums, I don’t really have much to say about Off the Ground. Ironically, as this was another album he recorded live in-studio, it sounds quite grounded. There are definitely some good songs on here: “Off the Ground,” “Hope of Deliverance,” “Peace in the Neighborhood,” “Golden Earth Girl,” and “Winedark Open Sea” all come to me as good songs, and they’re memorable enough, but only one of them is really great. “Looking for Changes” isn’t a particularly subtle animal rights song, which definitely works against it as a song. “Mistress and Maid,” and “The Lovers That Never Were” were both cowritten by Elvis Costello, leftovers from when they worked together on Flowers in the Dirt. They’re both definitely two of the stronger songs on here lyrically, though musically the latter is quite bland. That can actually describe most of the songs on here: musically bland. This album just isn’t worth it.
Favorite Song: “Hope of Deliverance”
Album Score: 6/10
Flaming Pie -
One of my personal favorites (waiting not so patiently for the Archive Collection edition) Flaming Pie is a real return to form for McCartney. This album has everything: “Somedays,” “Calico Skies,” “Heaven on a Sunday,” and “Little Willow” all form a sort of bloc of beauty, while songs like “The World Tonight,” “If You Wanna,” and “Used to Be Bad” (including a duet with Steve Miller) are all subdued rockers. That’s the thing about this album, McCartney shows an odd level of restraint musically, while also being at one of the most creative points of his career. It’s also interesting that the songs with similar tones aren’t consecutive tracks, and are instead spread throughout the album. While normally I would dislike that and think that takes away from the album as a work itself, it actually works very well, effectively keeping interest. It all feels very natural. I give a very strong recommendation for Flaming Pie.
Favorite Song: “Calico Skies” Recorded almost five years before release, this is just a beautiful love song.
Album Score: 10/10
Run Devil Run -
This is what a cover album should be. It’s perfect. From the covers, to the three original songs (Three!(It’s a good thing this time)) everything here fits. On his originals: “Run Devil Run” is pure energy, “Try Not to Cry” is just as good as any other song on here, and “What It Is” is actually a tribute to Linda (who had passed the year prior) that again fits perfectly in here. As for the song picks, some of them are pretty obscure (though still great), so his band had never heard them before. He would actually show them how they went for fifteen to twenty minutes (without having them listen to the original versions). The effect of that really helps differentiate this from other cover albums like his previous attempt as well as Lennon’s. Highly recommend this, even if you don’t normally like cover albums these songs just Rock.
Favorite Song: “No Other Baby” This is probably one of the hardest picks for me, because they’re all just so great.
Album Score: 10/10
Driving Rain -
If I had to describe this album in one word, it would be “Long.” Like unnecessarily long. Both the album itself as well as the individual songs are all too long. There are six songs over four minutes long including the ten minute “Rinse the Raindrops.” “She’s Given Up Talking” would probably be my favorite song if it was cut in half. “Tiny Bubble” and “Spinning on an Axis” (cowritten by James McCartney) could also afford to be shortened a little bit. The only longer song on here I like is “Riding Into Jaipur,” which is the most unique song on here by far. I do however like “I Do,” “Your Way,” and “Heather” despite everything. There’s definitely some great stuff hidden in here, so I would recommend listening to this album in parts (not all at once, that would be a drag) and creating your own much shorter playlist version.
Favorite Song: “Riding Into Jaipur” As I said, it’s the most unique song here, and it reminds a little bit of George Harrison.
Album Score: 7/10
Chaos and Creation in the Backyard -
This album may be my favorite standard McCartney album (that is not including McCartney II), it’s definitely my most listened to. Every song here is memorable from the beautiful ballad “Jenny Wren” to the beautiful imagery of (the somewhat fun) “English Tea.” The inherent sad in “Too Much Rain,” to the uplifting in “How Kind of You.” If I had to describe this album in one word it would be “beautiful.” Most of the songs here are incredibly sentimental, without being soppy like McCartney tends to fall trap to. There are really only two outliers in the whole album: “Promise to You Girl,” and the hidden track “I’ve Only Got Two Hands.” The former is definitely the most upbeat, and fastest song on here, and the latter is an instrumental that starts off pretty rock heavy. While they’re not bad by themselves (yes even the instrumental) they don’t fully fit, and “I’ve Only Got Two Hands” is a pretty weird way to end such an album. Also of note is that only two of the fourteen tracks here go over four minutes. I very highly recommend this album!
Favorite Song: “Too Much Rain” Again, every song here is memorable, and I love them all equally. Some are more equal than others.
Album Score: 10/10
Memory Almost Full -
Sixty-four at the times of its release, Memory Almost Full is one of McCartney’s poppier albums, despite the fact that he seems to have truly embraced his age as Old Man McCartney. Most of the songs here actually have to do with his aging, especially “Ever Present Past,” “That Was Me,” and “The End of the End.” There are really only two songs on here I don’t like: “House of Wax” and “Nod Your Head,” but, luckily the song in between them (“The End of the End”) makes up for them and then some. I just wish it didn’t end with “Nod Your Head.” Aside from that it’s a very solid effort from Old Man McCartney. I definitely recommend this album.
Favorite Song: “Mr. Bellamy” Not much to say about it, other than it’s a great song.
Album Score: 8.5/10
Kisses on the Bottom -
If I had to describe this Kisses on the Bottom in one word, it would be “Nice.” It’s just an overall nice sounding album. Though this is his second best cover album it’s also my least listened to, it’s very much quiet mood music. Paul himself viewed making this album as being on “holiday,” and that very much comes through; He sounds relaxed and comfortable singing these old tunes from childhood (admittedly only some were from childhood, he hadn’t heard of some others).
“The Glory of Love,” “We There (My Echo, My Shadows, and Me),” and “Bye Bye Blackbird” are all beautiful songs, especially great in that they showcase Old Man McCartney’s vocals perfectly. Of his two originals here “Only Our Hearts” is the weaker one despite Stevie Wonder’s harmonica playing. I recommend this easy-listening album to people in the mood for some easy-listening music. I know that sounds redundant, but I felt that I should still say it.
Favorite Song: “My Valentine” This song is a feat. It truly captures the essence of what he was going for. Also of note is that Eric Clapton is playing the guitar here.
Album Score: 8.5/10
New -
Not quite as great as his past two, but that could just be my Old Man McCartney bias coming through. This is even more pop than Memory Almost Full. It’s much more fun than the slightly meditative Memory Almost Full, though it does still have it’s more serious moments in the form of “Early Days,” and “Hosanna.” That’s not to knock the pop songs like the great “Queenie Eye,” “I Can Bet,” and “Looking at Her” (I could honestly go on to name every other song on this album, but I decided it was best to stop at three).
Favorite Song: “Early Days” Old Man McCartney is at it again!
Album Score: 8/10
Egypt Station -
His most recent album, Paul McCartney was seventy-six at the time of its release. It’s opening track “I Don’t Know” makes it seem as if Old Man McCartney is truly embracing his age, and that this album will be an even further extension of Memory Almost Full, but of course it’s immediately followed up by the catchy but comparatively shallow “Come On to Me.” It’s as if he can’t decide wether he’s okay with his age or not. “Happy With You,” “Confidante”(written about his guitar), “ and “Do It Now” all suggest he is, but then you have the utterly dreadful “Fuh You,” suggesting that no, he is not okay with it. At all. Of course two songs can’t take everything away from an otherwise okay album, but they do send mixed messages. I will say, although it doesn’t fit into my Old Man McCartney narrative, the ending medley (“Hunt You Down/Naked/C-Link”) is fantastic, I’m even okay with the instrumental third part. I would still recommend this whole album to anyone that has so far liked Old Man McCartney.
Favorite Song: “I Don’t Know” Pure, unadulterated Old Man McCartney is just great.
Album Score: 7/10

I don't know if I might do a Beatles one next or not. I might do someone else in between.
submitted by SamPyc to beatles [link] [comments]


2020.05.02 22:01 tenSpaz [For Sale] Mega-List of 200ish 7' 45rpm Records From 60s-90s Most Records Are $1-2 Tons of Genres!

This is a list of nearly 200 45s compiled from everything left over from all of my previous lists (plus some I forgot to list). This will most likely be the last time I'll be posting these copies before taking them back to the record shop where I work so most of the prices have been discounted!
Back with a new list of 45s for you guys. As you may already know I work for a small ma & pa record store in the Midwest and we're just trying to keep the shop viable through these strange times.
The minimum order before shipping costs is $10 via PayPal. Shipping is $4 for 1-10 discs and an additional .25¢ per every disc after that via USPS media mail (Shipping is for the U.S. only but music lovers in Alaska and Hawaii please realize it may take a little more time to reach you) If you order $20 or more we'll offer 10% off your total as well as our way of thanking you.
All 45s should be playable, most are in great shape, but they should all be good players. Some labels may have stickers or writing (the vast, vast majority will not though. (I've tried to make a note for every 45 that has writings or markings but I may have missed one here or there)
I've also got 45 turntable adapter available for $3 each
Thanks for looking!
**When sending me your list of items, for each record, please list the artist name and price of each (and if there is a sleeve). Thanks!*\*
$1
Abdul, Paula - Rush, Rush
Adams, Bryan - Everything I Do
Aerosmith - Get It Up
America - California Dreamin
Amos, Tori - 1000 Oceans
Armstrong, Louie - Hello, Dolly!
Autograph - Turn Up the Radio
Bangles, The - Manic Monday
Bangles, The - Eternal Flame
Basil, Toni - Mickey
Bee-Gees - Night Fever
Bell, Reuben - Baby Love
Benetar, Pat - We Belong (to the night)
Benetar, Pat - Prisoner of Love
Benetar, Pat - Shadows of the Night
Blue Haze - Smoke Gets In Your Eyes
Branigan, Laura - How Am I Supposed To Live Without You?
Bridges, Alciia - I Love the Nighlife
Brownsville Station - Smokin In the Boys Room
Carey, Mariah - Make It Happen/Emotions (w/ jukebox card)
Carnes, Kim - Bette Davis Eyes (some coloration stains on label)
Cheap Trick - I Want You To Want Me
Creedence Clearwater Revival - I Heard It Through the Grapevine
Clarkson, Kelly - A Moment Like This
Commitments, The - Chain Of Fools
Commodores - Three Times A Lady
Crow, Sheryl - Can’t Cry Anymore (pic sleeve w/ condition issues)
Culture Club - Karma Chameleon
Denver, John - Thank God I'm A Country Boy
Denver, John - Sunshine On My Shoulders (stickers on label)
Denver, John - Annie's Song
Denver, John - Take Me Home Country Roads
Derringer, Rick - Rock And Roll Hoochie Koo
Doctor And the Medics - Spirit In the Sky
Dorff, Steve & Friends - As Long As We Got Each Other (Theme from TV show Growing Pains)
Douglas, Carl - Kung-Fu Fighting
Foreigner - Hot Blooded
Foreigner - Feels Like the First Time
Foreigner - Waiting For A Girl Like You
Frey, Glenn - The Heat Is On (pic sleeve small writing on top right corner)
Go-Gos - Our Lips Are Sealed
Grand Funk Railroad - The Loco-motion (braille label)
Houston, Whitney - Where Do Broken Hearts Go?
Hammer, Jan - Miami Vice Theme (pic sleeve)
Human League - Human
Idol, Billy - Mony Mony "live"
Idol, Billy - Hot In the City
Kajagoogoo - Too Shy
Kansas - Point Of Know Return
KC & the Sunshine Band - That's the Way I Like It
KC & the Sunshine Band - Is the Same Old Song
Kinks, The - Come Dancing
Huey Lewis & the News - The Heart Of Rock & Roll
Huey Lewis & the News - I Want A New Drug
Lips, Inc - Funkytown
Loggins and Messina - Your Mama Don't Dance
Loggins, Kenny - Footloose
Loggins, Kenny - I'm Alright (Caddyshack theme)
Marx, Richard - Right Here Waiting (w/ jukebox card)
Manilow, Barry - I Write the Songs (handwritten dates on label)
McFerrin, Bobby - Don't Worry Be Happy
McClean, Don - American Pie
McCartney, Paul - Ebony and Ivory
Meatloaf - Two Out Of Three Ain't Bad
Miami Sound Machine - Conga
Miami Sound Machine - Bad Boy (pic sleeve)
Midler, Bette - From A Distance
Money, Eddie - Heaven In the Back Seat (w/jukebox card)
Nelson - Can't Live Without Your Love And Affection
Newman, Randy - Short People
Newton-John, Olivia - Physical
Newton, Juice - Angel Of the Morning
Poindexter, Buster - Hot Hot Hot (pic sleeve)
Poison - Your Mama Don't Dance
Quiet Riot - Bang Your Head
REO Speedwagon - Take It On the Run
Roth, David Lee - That's Life
Roxette - Crash! Boom! Bang! (Jukebox only copy on translucent yellow vinyl)
Roxette - The Look
Roxette - Almost Unreal
Scorpions - Coming Home
Seger, Bob - Shakedown (pic sleeve)
Seger, Bob - Old Time Rock & Roll
Saigon Kick - Love Is On the Way
Steam - Na Na Hey Hey Kiss Him Goodbye
Steppenwolf - Born To Be Wild
Stewart, Rod - Da Ya Think I'm Sexy
Sylvers - Boogie Fever
“Tennessee” Ernie Ford - Sixteen Tons
Travolta, John & Olivia Newton-John - You're the One That I Want
Travolta, John and Olivia Newton-John - Summer Nights
Townshend, Peter - Let My Love Open the Door
Village People - YMCA
Walsh, Joe - Life's Been Good
Warrant - Heaven
Warrant - I Saw Red (w/ jukebox card)
ZZ Top - Legs
ZZ Top - Rough Boy
$2
B-52's, The - Roam
Bangles, The - Walking Down Your Street (pic sleeve)
Beach Boys - Fun, Fun, Fun
Beach Boys - Little Deuce Coupe
Big Brother And the Holding Company - Down On Me
Brown, Bobby - Humpin’ Around
Carlisle, Belinda - Heaven Is A Place On Earth
Cheap Trick - Don't Be Cruel (pic sleeve)
Chordettes, The - Lollipop (on silver and burgundy Cadence label)
Clapton, Eric - Lay Down Sally
Crests, The - 16 Candles (name written on label)
Doors - Touch Me (two small drill holes in label)
Dylan, Bob - Gotta Serve Somebody
Dylan, Bob - Knockin On Heaven's Door
Dylan, Bob - Lay Lady Lay
Dylan, Bob - Just Like A Woman
Eagles - The Long Run
Eagles - Witchy Woman
Eagles - Lyin' Eyes
Eagles - Heartache Tonight
Eagles - Already Gone
Fleetwood Mac - Gold Dust Woman
Foreigner - Waiting For A Girl Like You (pic sleeve)
Frampton, Peter - I'm In You (pic sleeve)
Franklin, Aretha - Think
Franklin, Aretha - Respect
Franklin, Aretha - Bridge Over Troubled Water
Genesis - That's All
~~Haggar, Sammy - I Can't Drive 55 (two stickers on label)~`
Houston, Whitney - One Moment In Time (pic sleeve)
Jackson, Michael - Rockin Robin
Jackson, Michael - I'll Be There (small drill hole)
Jackson, Michael - Black Or White
Jackson, Michael - The Girl Is Mine
Joel, Billy - Just the Way You Are (w/jukebox card)
Joel, Billy - All Shook Up
Joel, Billy - She's Always A Woman
John, Elton - The Bitch Is Back
Jon Bon Jovi - Miracle
Kansas - Dust In The Wind
Kansas - Carry On My Wayward Son
Huey Lewis & the News - Hip To Be Square (pic sleeve)
Limahl - The NeverEnding Story (pic sleeve)
Los Lobos - La Bamba (pic sleeve from La Bamba soundtrack w/ typewritten label in top left corner)
Lynyrd Skynyrd - Down South Jukin (promo)
Lynyrd Skynyrd - Sweet Home Alabama
Lynyrd Skynyrd - Free Bird
Madness - Our House (pic sleeve)
McCartney, Paul and Michael Jackson - Say Say Say (pic sleeve)
Michael, George - Father Figure (pic sleeve w/ condition issues)
Miller, Steve - Abracadabra (pic sleeve w/corner torn off)
Monkees - Last Train To Clarksville
Motley Crue - Smokin’ In the Boys Room
New Edition - Tears On My Pillow (pic sleeve)
Petty, Tom - Don't Do Me Like That
Prince - Delirious
Rolling Stones - Ain't Too Proud To Beg
Simon and Garfunkel - Cecilia
Springsteen, Bruce - Tunnel of Love (pic sleeve w/condition issues)
Tiffany - I Think We're Alone Now (pic sleeve)
Thin Lizzy - The Boys Are Back In Town
Turner, Tina - Private Dancer (pic sleeve)
Who, The - Happy Jack
$3
Aerosmith - Dude Looks Like A Lady (pic sleeve)
Archies, The - Bang-Shang-A-Lang (pic sleeve)
Beach Boys - Surfin' USA (on Capitol yellow and orange swirl label)
Benetar, Pat - Hit Me With Your Best Shot (pic sleeve)
Benetar, Pat - Shadows of the Night (pic sleeve)
Bowie, David - Blue Jean
Collins, Phil - One More Night (pic sleeve)
Costello, Elvis - Welcome To the Work Week (pic sleeve demo)
Extreme - More Than Words (with jukebox card)
Jackson 5 - State Of Shock (pic sleeve)
Jackson, Michael - I Just Can't Stop Loving You (pic sleeve w/ original price tag)
John, Elton - Nobody Wins (pic sleeve)
John, Elton - Nobody Wins (translucent green vinyl)
John, Elton - Get Some Funk Of Your Own (red translucent vinyl)
John, Elton - Nikita (pic sleeve)
John, Elton - Mama Can't Buy You Love (pic sleeve)
Petty, Tom - Don't Do Me Like That (pic sleeve w/light condition issues)
Prince - Raspberry Beret
Queen - Another One Bites the Dust
Roth, David Lee - California Girls (pic sleeve)
Simon and Garfunkel - My Little Town (pic sleeve w/ year handwritten on bottom right)
Stray Cats - Sexy+17/Lookin Better Every Beer (pic sleeve)
U2 - Where the Streets Have No Names
U2 - All I Want Is You (pic sleeve)
$4
Guns N' Roses - Welcome To the Jungle (pic sleeve)
Jackson, Michael - Ease On Down the Road (pic sleeve from movie The Wiz)
Jackson, Michael - Man In the Mirror (pic sleeve w/ original pricetag)
Prince - 1999 (pic sleeve)
Zappa, Frank - Valley Girl
$5
Run DMC - Walk This Way (pic sleeve)
$6
Beach Boys - When I Grow Up To Be A Man (pic sleeve) (some light writing)
Rydell, Bobby - Wild One (pic sleeve)
submitted by tenSpaz to VinylCollectors [link] [comments]


2020.04.07 11:21 indypiradon Wikipedia - Chair

One of the basic pieces of furniture, a chair is a type of seat. Its primary features are two pieces of a durable material, attached as back and seat to one another at a 90° or slightly greater angle, with usually the four corners of the horizontal seat attached in turn to four legs—or other parts of the seat's underside attached to three legs or to a shaft about which a four-arm turnstile on rollers can turn—strong enough to support the weight of a person who sits on the seat (usually wide and broad enough to hold the lower body from the buttocks almost to the knees) and leans against the vertical back (usually high and wide enough to support the back to the shoulder blades). The legs are typically high enough for the seated person's thighs and knees to form a 90° or lesser angle.[1][2] Used in a number of rooms in homes (e.g. in living rooms, dining rooms, and dens), in schools and offices (with desks), and in various other workplaces, chairs may be made of wood, metal, or synthetic materials, and either the seat alone or the entire chair may be padded or upholstered in various colors and fabrics.
Chairs vary in design. An armchair has armrests fixed to the seat;[3] a recliner is upholstered and under its seat is a mechanism that allows one to lower the chair's back and raise into place a fold-out footrest;[4] a rocking chair has legs fixed to two long curved slats; a wheelchair has wheels fixed to an axis under the seat.[5]
Etymology
Chair comes from the early 13th-century English word chaere, from Old French chaiere ("chair, seat, throne"), from Latin cathedra ("seat").[6]
History
Main article: History of the chair
Five three-legged chairs around a low-legged table from Sliven 19th Century Lifestyle Museum
Early 20th-century armchair made in eastern Australia, with strong heraldic embellishment The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom[7] and Canada,[8] and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'.[9] Endowed professorships are referred to as chairs.[10] It was not until the 16th century that chairs became common.[11] Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin.[citation needed]
Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high.[12] In ancient Egypt chairs appear to have been of great richness and splendor. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honor. On state occasions the pharaoh sat on a throne, often with a little footstool in front of it.[13]
The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor.[12]
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2020.04.03 02:37 tenSpaz [For Sale] New List of 7" 45rpm records from 60's-80's (almost ALL $2-3 each)

Hi again guys! As you may already know I work for a small ma & pa record store in the Midwest and we're just trying to keep the shop viable through these strange times.
We've got a lot of new 45s and hopefully you'll find something you'll like!
Also wanted to thank everyone who have supported us through this! It means a lot.
The minimum order before shipping costs is $10. Shipping is $4 for 1-10 discs and an additional .25¢ per every disc after that via USPS media mail (Shipping is for the U.S. only but music lovers in Alaska and Hawaii please realize it may take a little more time to reach you) If you order $20 or more we'll offer 10% off your total as well as our way of thanking you. If you order more than that, well, bless you and I'm sure I can work out an even better discount if need be as a "thank you" for keeping us going through this.
All 45s should be playable, most are in great shape, but they should all be good players. Some labels may have stickers or writing (the vast, vast majority will not though.
Thanks for looking!
$2
Adam Ant - Goody Two Shoes
Archies, The - Sugar Sugar
Beach Boys - Kokomo
Brownsville Station - Smokin’ In the Boys Room
Chordettes, The - Lollipop (Cadence label) (worn)
Club Nouveau - Lean On Me
Devo - Whip It
Grand Funk - Loco-Motion (has small braille sticker on label)
K.C. and the sunshine Band - That’s the Way I Like It (name written on label)
K.C. and the Sunshine Band - It’s the Same Old Song
Lauper, Cyndi - Girls Just Wanna Have Fun
Lewis, Huey and the News - I Want a New Drug
Lewis, Huey and the News - The Heart of Rock & Roll
Lipps, Inc - Funkytown
Loggins and Messina - Your Mama Don’t Dance
Loggins, Kenny - Danger Zone
Loggins, Kenny - Footloose
Loggins, Kenny - I’m Alright (theme from Caddyshack)
Lynyrd Skynyrd - Down South Jukin’ (white label promo)
Marx, Richard - Right Here Waiting
Manilow, Barry - I Write the Songs (date written on label)
Meat Loaf - Two Out of Three Ain’t Bad
Meat Loaf - I Would Do Anything For Love (But I Won’t Do That)
McFerrin, Bobby - Don’t Worry (Be Happy)
McLean - Don - American Pie
McCartney, Paul - Ebony and Ivory
Midler, Bette - From a Distance
Money, Eddie - Heaven In a Back Seat
Miami Sound Machine - Conga
Miami Sound Machine - Bad Boy (pic sleeve)
Newton, Olivia Newton - Physical
Presley, Elvis - Can’t Help Falling in Love
Prince - Delirious
Seger, Bob - Old Time Rock & Roll
Simon, Carley - You’re So Vain
Tennessee Ernie Ford - Sixteen Tons (purple Capitol label)
Wild Cherry - Play That Funky Music
$3
Clapton, Eric - Forever Man (pic sleeve)
Double Sided Ben E King - Stand By Me and The Coasters - Yakety Yak (Atlantic label)
Fleetwood Mac - Go Your Own Way/Silver Spring
Jackson 5 - I’ll Be There (worn)
Jackson 5 - Never Can Say Goodbye (worn)
Jackson, Michael - Black or White
Jackson, Michael - Thriller
Jackson, Michael - The Girl Is Mine
Jackson, Michael - Bad
Jackson, Michael & Donna Ross - Ease On Down the Road (writing and sticker on label)
Kansas - Dust In the Wind
Kansas - Carry On My Wayward Son
Kinks, The - Come Dancing
Los Lobos - La Bamba (promo) (small circular stain on label from where a sticker used to be)
Los Lobos - La Bamba (pic sleeve w/ rectangular sticker on top left corner)
Madness - Our House (pic sleeve)
Madonna - Like a Virgin/Lucky Star
McCartney, Paul & Michael Jackson - Say Say Say (pic sleeve)
McCartney, Paul - Ebony and Ivory (pic sleeve but not in great shape. Some discoloration and former owners name written on sleeve)
Mellencamp, John Cougar - Jack and Diane (just John Cougar on label - no Mellencamp)
Michael, George - Father Figure (pic sleeve with condition issues)
Michael, George - One More Try (pic sleeve with small price sticker)
Michael, George - Faith
Moonlight Drive - Who Do You Love (pic sleeve)
Motley Crue - Smokin In the Boys Room
Pink Floyd - Another Brick In the Wall (Part II)
Springsteen, Bruce - Tunnel of Love (pic sleeve)
Starship - We Built This City (pic Sleeve)
Weird Al Yankovic - Eat It
$5
Jackson 5 *Michael Jackson w/Mick Jagger) - State of Shock (pic sleeve)
submitted by tenSpaz to VinylCollectors [link] [comments]


2020.03.26 17:29 setch22 Throwback Write-Up #2: The Roots - Things Fall Apart

Artist: The Roots
Album: Things Fall Apart
Listen:
· Youtube
· Spotify
· Apple Music
· Google Play Music
Album Background
To understand the lead-up to Things Fall Apart’s release, its important to recognize the dilemma The Roots found themselves in as they set out to record the follow-up to 1996’s Illadelph Halflife. The Roots were a bit….out of place - at least within the context of the day’s hip-hop environment. While hip-hop’s mainstream was dominated by the East Coast-West Coast beef, the larger-than-life personalities of Puff Daddy and Jay-Z, and the bubbling rise of Southern hip-hop, The Roots were at a bit of a cross-roads. They represented the push-back to Bad Boy, a critical darling that combined jazz and hip-hop in a way that satisfied everybody – except the mainstream. They weren’t the only acts pushing back, but The Roots lacked what other acts that managed to push through the East Coast-West Coast beef had: an identity. This isn’t to say The Roots didn’t have anything to say, they just hadn’t figured out a way to package together their unique blend of neo-soul, jazz, and hip-hop in a way that the masses could latch onto.
While their previous record had pulled from the grittier New York sound that Wu-Tang had helped bring to the forefront of hip-hop, a different set of influences would help shape Things Fall Apart. While band-leader ?uestlove spent time working on D’Angelo’s Voodoo¸ he focused on learning from his contemporaries, citing DJ Premier and J Dilla as major influences in his evolution of sound. They helped him learn to play “dirty”, making his beats off-kilter and less – well – clean. Nobody doubted ?uest’s capability as a drummer, but if anything he was too studied for the era. His beats didn’t give rapper Black Thought much room to explore his grittier side, and in the era of Biggie’s violent narratives snatching the spotlight, The Roots needed a darker edge to help snatch some of the spotlight. In his 2013 memoir Mo’ Meta Blues, ?uestlove talks about a turning point in his production career, in which he played an early version of eventual Things Fall Apart stand-out “Double Trouble” for Dilla and DJ Premier. “I knew that the other guys respected me as a drummer… but I also wanted them to respect me as a producer”.
What the record came to be was nothing short of pioneering: a seamless combination of the burgeoning neo-soul movement and the gritty sounds dominating the hip-hop charts; a masterful combination of the live instrumentation they had perfected over their previous three projects, and the new-age sampling that was dominating much of hip-hop’s sound. This combination of sound - so inherently old and new, chaotic but focused, hard-hitting but psychedelic – gave Black Thought room to flex his lyrical muscles, cementing himself as one of the top lyricists of the era (and his place in my top 3 rappers of all-time).
Album Review
Before getting into the tracklist, I feel as though it is important to discuss both the album’s title and it’s art. Things Fall Apart is named after the classic (and often spark-noted) novel of the same name by Chinua Achebe. The Roots – and associated acts within their lane, such as Common and Mos Def – were meant to parallel the main character of the novel, Okonkwo. Okonkwo leads an African tribe during the rise of European colonialism, and despite being respected by his peers and being considered the strongest warrior amongst his peers, he is unable to fight back against the colonizers, with his peers submitting to the invaders’ authority. While not explicitly stated, The Roots’ “colonizers” are the previously mentioned acts that dominated the airwaves in the late 90’s, as the “bling era” truly got into full-swing. Much like Okonkwo, The Roots were not simply going to cower and accept this new leadership in hip-hop. That being said (spoilers if you for some reason haven’t read the novel, and are interested in doing so), The Roots know this is ultimately a losing battle. The labels (read: colonizers) had too many resources invested to overcome, and the most that could be done was to hold the line.
The main artwork, known as “Woman Running”, comes from a riot in Brooklyn during the height of the Civil Rights era. It depicts two black teenagers being chased by dozens of police officers, and the genuine fear in the woman’s face is as powerful of an image as you’ll find: aggressive, unflinching, in-your-face. This iconic image represented the injustice of the Civil Rights era and captured the eye of anybody who happened upon it. There were four alternative covers as well: “Ace in the Hand”, showing mob boss Giuseppe Masseria’s dead, outstretched arm holding a single Ace playing card; “The Church Bombing”, depicting a mostly-destroyed church, with remaining stained-glass that portrays persevering hope and spirituality; “Baby in the Rubble”, an iconic shot of a baby left behind in the aftermath of Japanese destruction in China in the 1930’s; and “Crying Child”, showing a malnourished Somalian child and representing the famine that still ruled much of the world.
Track-by-Track Review
  1. Act Won (Things Fall Apart)
The album begins with two samples of dialogue, laid over brooding instrumentation that at times sounds like it is trying to cut through into the forefront, with drum-kicks and the spinning of records cutting into and out of the audio. The most important part, however, is the dialogue: a conversation cut from Spike Lee’s 1990 movie Mo’ Better Blues, and a quote from Harry Allen, an activist and PR genius who helped Public Enemy invoke emotion in their audience to inspire conversation and change. The first clip seems to represent The Roots’ internal dilemma, in which Denzel Washington’s character complains that black people aren’t supporting their art. “If we had to depend upon black people to eat, we would starve to death…..It incenses me that our own people don’t realize our own heritage, our own culture, this is our music.” This same dialogue had to have been happening internally, as The Roots were unable to find support for their music amongst a market dominated by braggadocio that they felt wasn’t doing enough to talk about the very real issues plaguing their community.
Wesley Snipe’s character retorts back that “The people don’t come because you grandiose motherfuckers don’t play shit that they like. If you played the shit that they liked, then the people would come. Simple as that.” By beginning the album with this clip, the band acknowledged their own reputation, of making brilliant music that nobody wanted to listen to outside of their core fanbase. They had a dedicated following, but if you weren’t a Roots fan, then you didn’t particularly give a shit about them. It foreshadows what is to come for the rest of the record: a change in sound, combining the brilliant music they knew they could create with the sounds that piqued the interest of the public. The Harry Allen quote furthers this, suggesting that hip-hop records and, by extension, The Roots are “treated as though they are disposable…they are not maximized as product, not to mention as art”.
  1. Table of Contents (Parts 1 & 2)
This track begins with Black Thought seemingly killing time, waiting on the drum-line to kick in, building up towards his verse as the instrumental builds up to the kick. When the instrumental does kick, it is meant to immediately let the listener know: this isn’t like the previous records from The Roots. It’s messy, even chaotic, and showcases the influences of the contemporaries he’s spent ample time with – namely, J Dilla, as it’s mixed in a way that keeps listeners on their toes at all times. It creates a platform for Black Thought to stretch out over the track, with the drumline cutting in and out to allow for Thought to mix up his flows. While on its surface, Thought’s verse may come across as aimless and simply a well-constructed way for him to say that he’s the best rapper out, it is important to remember what this track represents. This is the turning point in The Roots’ career, as they blossomed out of their shell from a technically proficient but at times tasteless jazz rap band, into an interesting and unique group determined to stand out in the now-crowded hip-hop scene. As Black Thought’s verse fades out, an abrupt switch brings about Part 2, with Malik B on the vocals. A more focused, albeit barer, beat gives Malik room to lay down a verse chock-full of internals and dense rhyme-schemes that switch up constantly, showing that it isn’t just the instrumentals that were going to be constantly changing up on this record.
  1. The Next Movement
While Table of Contents showcased the new, chaotic direction TFA was about to undertake, The Next Movement made a more explicit statement: this isn’t just the beginning of a new record; it’s a change within hip-hop. The Roots weren’t going to let the more profound, raw hip-hop styles they loved be pushed to the side by the Bling era, and Thought makes that abundantly clear, spitting
Yo, the whole state of things in the world ‘bout to change
Black rain fallin’ from the sky look strange
The ghetto is red hot, we steppin on flames
Yo, it’s the inflation on the price for fame
And it was all the same, but then the antidote came
With DJ Jazzy Jeff scratching and Jazzyfatnastees provided background vocals, ?uestlove’s funky drumline provides a base for Black Thought to lay not only two energetic and technically impressive verses, but also one of the most addictive hooks he’s written to date. While Thought exclaims that he’s “The Dalai Lama of the mic”, The Roots as a collective hit you with a right hook meant to prove that they can make accessible, hit music while still being true to who they are as artists.
  1. Step Into the Realm
On Step into the Re(a)lm, ?uestlove showcases a little-known technique used often in the early 90s: the pause tape. ?uest described this process in an interview with DRUM! Magazine, saying
“When you wanted to create a drum loop, you get a recorder, press record and pause at the same time. When the drum break came, you would let the paused tape go right on the 1, and then pause it on the 1 again. After you did this about 20 times, you would have about five minutes of drums.”
Obviously this process was incredibly tedious, and was left behind by improved sampling technology that was prominent by the time the group was recording this project. Yet, a not so subtle homage can be heard on this track, with the backing track fading in and out, with the break coming at the end of the 45. This makes the already somber instrumental give even more room for Malik B and Black Thought’s hard hitting bars to pack an even bigger punch. The beat fades away for Thought to spit about his “mic slapping you senseless” and rolling through your hood “cocked back, Me and Hot Mack, the ’98, El Dorado Cadillac Jacks”.
  1. The Spark
While Black Thought can tend to get most of the shine when talking about The Roots’ pens, Malik B showcases on “The Spark” why he’s not an MC to be trifled with. With another head-bopping drumline from ?uest backing him, Malik spits on his purpose in life, driven by his faith in Islam. His faith is at odds with his violent tendencies, which he states are products of his environment. While he struggles with this internal conflict, he warns any who oppose him that are “wondering what’s in my heart, velocity or piety; yo, it depends on which one you bring to surface; at times I get trifled but to worship is my purpose”. He continues his exploration of this internal struggle between peace and violence, stating his full Islamic name is Abdul Malik, meaning servant of God. But just bars later, he spits “show me the vault or the safe, cause I’m on the paper chase”. While Malik explores this internal struggle, a smooth bassline combines with a keyboard-laden backtrack (both courtesy of D’Angelo) to give him room to shine, and they way his vocals are layered on certain bars really helps make his bars hit on what feels like his chance at the spotlight on this record.
  1. Dynamite!
While it feels almost wrong to use the word “banger”, given its connotations and tendency to be used to describe records lacking lyrical muscles or real meaning…..this track’s kind of a banger. J Dilla’s production hand shines, sampling a funky guitar from Nirvana (not that one, a 60’s jazz band by the same name). The track manages to stand out amongst an already stacked tracklist, with Black Thought’s hook proving to be infectious (edit: it’s taken me way too long to write the next track review, I keep coming back to this). Thought and Rehani Sayeed go back and forth throughout the track, effortlessly weaving into and out of each verse, talking about the importance of being present while riding this beat with some absolutely insane flows. And god DAMN is the beat on this thing sick. It’s quintessential Dilla, seemingly basic on the surface, but the more you listen to it the better it sounds. And while it may not seem like some technically complex thing, there’s a reason nobody could go toe-to-toe with Dilla: he was the only one who could make beats like this. For that matter. As soon as you finish reading this….go spin Donuts. I mean, listen to Things Fall Apart first if you haven’t. But like, right after. Donuts.
  1. Without a Doubt
This Lady B-assisted joint features a sample flip from fellow Philadelphia artist Schoolly D’s “Saturday Night”, and you’d be hard-pressed to argue that they don’t do the beat justice. With ?uest’s production hand spinning the sample into and out of the drumline, it gives the song a lot more unpredictability, and this gives Black Thought room to lay two of his most under-rated verses in his illustrious discography. That being said, this song acts as an ode to Philadelphia, with Lady B’s hook bringing things together. Thought’s verses constantly change flow, and the beat almost sounds like it reacts to his bars, giving them more space where he needs it. And this song further pushes what this entire album seemed to state: “Warn, ring the alarm, cause here The Roots come”.
  1. Ain’t Sayin’ Nothin’ New
So you like rapping? What about when one of the greatest MC’s of all-time raps his ass off, with one of his greatest influences matching him bar-for-bar? I don’t say this lightly when I say this is some of the best rapping you’ll find on this entire project, with Black Thought and Dice Raw absolutely spazzing on an infectious ?uestlove beat. They make it clear that the popular acts of the day don’t impress them, and suggesting that those guys, well, aint sayin nothin new. Dice Raw raps like HE’s the one who belongs on everybody’s top 10 lists, and honestly might have gotten the better of Thought on this track. That’s not to say Thought doesn’t deliver great verses, but Raw has more moments in which he shines.
Straight from the old school, ayo, Raw’s in full effect
I’m like, Lex Luther with rifles filled with kryptonite
When you grip the mic, its like, c’mon kids, lets say goodnight!
You don’t like me? But don’t even know why you should hate me
You scared to face these so I still remain safely
  1. Double Trouble
I feel like I wasted the “So you like rapping?” line a song too early. A song meant to pay homage to the original “double trouble” routine from the movie Wild Style, Black Thought and Mos Def put together one of hip-hop’s greatest examples of rappers trading bars. Ever. The beat, which ?uest told Drum Magazine took him about five hours to get the drums right for, is the epitome of the “dirty” sound that has come up so often throughout this write-up. Right from the get-go, Black Thought steers into this dirty sound by scatting at the top of the hook. As far as the bars go, there isn’t really anything I can say that does it justice. If the idea of Black Thought and Mos Def trading bars doesn’t speak for itself, then I probably can’t help you.
It’s also crazy to think that this song originally featured Talib Kweli as well, but there were too many bars for one song. Black Thought chose to steer into a Run-D.M.C. style track, with the back-and-forth bars meant to play like a tug-of-war between the rappers. This song’s background has one of my favorite hip-hop stories as well, with Black Thought recounting Mos leaving mid-recording to “go get a fish sandwich” and not coming back for a week. So there’s that.
  1. Act Too (The Love of My Life)
This song acts as an ode to hip-hop itself, with Thought calling it the love of his life throughout the track. He weaves in stories of struggling in his quest to make it in hip-hop, saying “it was all for you” and that he wouldn’t have made it in life if it weren’t for hip-hop. While Thought’s verse isn’t much deeper than just being a love letter to hip-hop, the guest verse provided by Chicago rapper Common is far more critical of the direction of hip-hop. While referencing his incredible song “I Used to Love H.E.R.” from Resurrection, Common expresses his discontent with the state of hip-hop, with bars aimed at N.W.A. (when we touch, it was more than just a Fuck the Police) and Puff (Her Daddy’ll beat H.E.R., eyes all Puff-ed). He seems to have the same underlying attitude of hip-hop being the love of his life, but instead expresses his discontent with the way hip-hop’s other suitors choose to treat her. For Common, it was always about love, and hip-hop had been overrun by hate. The beautiful beat acts as a perfect backdrop for these two to portray their love of hip-hop.
  1. 100% Dundee
While not the most popular song on the album, this one has stood out as one of my favorites from day one. Right from the get, Thought comes out the gate just spazzing – “Yo, on these seventy-three keys of ivory and ebony; I swear solemnly that I’ll forever rock steadily”. The title and hook act as a reference to Crocodile Dundee, where if hip-hop is the wild, the Roots are the absolute best out there, akin to Mick Dundee hunting fake MCs. With Rahzel beatboxing and Kamal Gray shining on the piano, the beat is just dirty enough to give Black Thought and Malik B room to spit some of their best verses on this whole project (Note: I think I’ve said that on almost half the songs on this project. It’s just that kind of album. Sorry). As far as the content goes, it basically re-iterates the ideas presented by calling the track 100% Dundee. They’re a level above everybody else in hip-hop, and they’re out to kill any fake MC’s who dare stand in their path.
  1. Diedre vs. Dice
A short 45-second interlude, Diedre vs. Dice consists of a short Dice Raw verse that was probably just too dope to be left off the project, but wasn’t able to be extrapolated into a full-fledged idea/song. With a barebones beat consisting of a dirty drum-line from ?uest and some strings that come into and out of the instrumental rather quickly, Dice Raw warns that “to me, these punk MC’s is nothin but fruit”. While short, it provides a needed break in the album that has just been going full-force for about ten tracks straight.
  1. Adrenaline!
And just as Diedre vs. Dice provides a mild break in the heavy-hitting instrumentals, Adrenaline! Comes right back with a stand-out performance not only by four spitters, but also by Kamal Gray on piano absolutely shining behind ?uestlove’s beat. While by this point in the project it should come as no surprise that Black Thought, Malik B, and Dice Raw all come through with heavy-hitting verses, a pre-Roc Beanie Sigel verse may come out of left field a bit, but his talent shines through already. This song is as Philly as it gets, with every rapper on here making references to Philly spots and icons. And the hook, while as barebones as a hook can really be, still manages to act as an earworm.
  1. 3rd Acts: ? Vs. Scratch 2 … Electric Boogaloo
This interlude, consisting entirely of scratching, was probably just put here so they could put Electric Boogaloo in a song title. Note: I really wanted to type a long-winded thing about how the lyricism just doesn’t stand up to some other tracks on the album and do this whole thing. But The Weeknd album comes out in like an hour and a half. So….priorities.
  1. You Got Me
Here we are. The big one. If this is the only track you’ve heard from The Roots, that’s okay. You need to fix it, but it’s okay. This is one of those songs that transcends beyond a genre or an album a little bit. Even though this album is amazing, this song reached a whole different level that the rest of the album never reached. This track won the group a grammy, and is far and away their biggest hit, despite not having anything that screams “Hit Single” about it. The hook, originally written by a then-unknown Jill Scott, is performed on the album cut by the amazing Erykah Badu.
The track tells the story of Thought meeting a woman from Philly while performing in Paris and linking when they get back, and the struggles of their budding relationship. The hook combines with Eve’s verse to act as the woman’s perspective, with her questioning if Thought only loves the mic before ensuring him that she could be trusted. The hook reassures this – “Baby don’t worry, you know that you got me”.
The instrumental on this thing is absolutely beautiful, with a rather simple guitar and drumline being supported by background vocals and strings to give an airy, euphoric sound that just plays so well into Erykah’s voice. It isn’t until the outro that you hear a whole lot out of ?uestlove, but this is one of the few tracks where he almost doesn’t need to take the center stage.
  1. Don’t See Us
As the album winds down, the instrumentals stay a little more low-key, like in the preceding track. The beat on this thing constantly changes, with a basic drumline and handclap being the only consistency. The keyboards on this are great when they show up, and the beat just begs for somebody to rap over it. And that’s just what Malik B, Black Thought, and Dice Raw all do, with six verses packed into this track. That being said, this track is honestly one of the weaker full-length tracks on the project and one of the only knocks on it. That’s not to say that it’s bad, because the instrumental is cool and the rappers all provide nice verses. But compared to so many of the other songs on this track list, this track just lacks that it factor, that thing that jumps out and grabs you and makes you go “Oh shit, that was kinda crazy”.
  1. The Return to Innocence Lost
The first time this song came on, I was just relaxing to this album and enjoying the unique sounds that make The Roots so incredible. There had been four or five times that I had stopped and went, “okay, I wasn’t ready for that, holy shit”. Boy was I naïve.
The Return to Innocence Lost is a spoken word poem by Ursula Rucker describing the vicious cycle of the hood. Anthony Tidd plays the guitar that weaves in and out behind her. I really don’t know how to describe how powerful this poem is, other than to say that it is one of the most haunting, disturbing things I’ve ever heard. When I write these track-by-track reviews, I usually sit and listen to each track 4-5 times before I start writing. I didn’t make it through the second round of this one. Its…. Incredible. And haunting. And powerful. And I could never do it justice in a hhh write-up.
  1. Act Fore….The End?
The introduction of this track gives a peak into the way The Roots operate: don’t know what to do? Make music. With a piano sample from an old TV Series theme Eager Beaver, scratching throughout, and one final dirty drumline from ?uest, the beat was laid out there for Black Thought to shine all on his own. He contributes three stellar verses that make up for an otherwise forgettable hook, and while this “hidden track” doesn’t add a ton to the album as a whole, it’s still a good track and I wouldn’t dare complain about more music from The Roots.
Conclusion
While “political” or “conscious” hip-hop is usually associated with having bars aimed at political figures or talking about systematic change, much of Things Fall Apart doesn’t fit that mold. It’s almost as if the sound itself was a statement, because it isn’t like Thought was spending lines shit-talking Bill Clinton. He was talking about the Philly streets, about the area he grew up in. Yet, the political tag this album gets applied doesn’t feel inherently misplaced. Thought’s stories act as their own message, taking the concept of suffering going on in his neighborhood and putting it on this grand pedestal for all to see.
All in all, this project not only provides some of the best live instrumentation in hip-hop, but some of the best lyricism you'll find as well. This project has some clear influence, not only other other projects of the Soulquarian era, but decades later as well. You can hear it on modern classics like To Pimp a Butterfly, as well as on some of the instrumentals chosen by Chicago's SaveMoney collective and related acts. This album feels like a moment in hip-hop, where an entire sound cultivated into one big project that everybody can look back on as one of the pinnacles of an entire sound.
Five Favorites: Dynamite!, The Return to Innocence Lost, You Got Me, 100% Dundee, Double Trouble
Final Rating: 9.6/10
Discussion Questions?
· Had you heard this project before? If not, did you recognize the main cover?
· What is your favorite Roots album, and where does this one stack up?
· How do you compare this project to the other projects coming out of the Soulquarian era?
· Would you consider this project political/conscious?
· How well does this album hold up?
· If released today, do you think this album would be received better or worse?
submitted by setch22 to hiphopheads [link] [comments]


2020.03.07 09:04 cold-spirit On my first DMC5 playthrough I wrote down my thoughts after each chapter. Here it is a year later in celebration of the game's anniversary. I've since platinumed DMC5. I no longer agree with everything I wrote down, but it's fun to reflect on how our opinions change over time.

Prologue

Mission 1

Mission 2

Mission 3

Mission 4

Mission 5

Mission 6

Mission 7

Mission 8

Mission 9

Mission 10

Mission 11

Mission 12

Mission 13

Mission 14

Mission 15

Mission 16

Mission 17

Mission 18

Mission 19

Mission 20
submitted by cold-spirit to DevilMayCry [link] [comments]


2020.02.10 07:45 EuropeanVeneer How Is Veneered Furniture Better Than Wood Furniture

How Is Veneered Furniture Better Than Wood Furniture
Veneers as well as real wood furniture create an extraordinary effect and impart special looks to space. Wood veneers are a traditional and structurally significant aspect of furniture-making along with solid wood furniture. Thinking of renovating your house or incorporating any furniture into your space, veneered furniture should always be the first choice. With veneers, high-end furniture is made establishing endurance and longevity.
History of veneer
The origin of veneer can be dated back to the Egyptian age. Manufacturing slice of thin veneers of ebony and ivory were the oldest. During the period of Renaissance, detailed designs of exotic wooden veneers form intricate marquetry scenes. In the 19th century, expensive woods such as mahogany and walnut were glued to less expensive wood furniture to bring out an exclusive piece of art. Veneers within themselves have the quality of hardwood and produce real wood like furniture. Many times people mistakenly consider veneered furniture as solid furniture. Wood Veneers instill the impression of a more desired quality wood without being costly. In most cases, a thin layer of real wood is applied to a plywood base and termed as used in making kitchen cabinets, walls, flooring and more. With durability and consistency, veneered furniture also imparts natural beauty and variations.

https://preview.redd.it/obojrrj6m1g41.jpg?width=510&format=pjpg&auto=webp&s=18b12f83f70c6cbd3f094f781bac0a95615460bb
Characteristics of wood
For rich appearance, wood is the most popular material used for making furniture. Solid wood furniture is easy to repair as completely made from natural wood. Different types of furniture come with various sets of characteristics like color, density, grain, and finishing. Wooden artwork and furniture are generally hard and are often used for structural purposes. A lot of modern houses decorate with furnishings that are made from glass, steel or copper, but the exclusiveness of the wooden items is beyond excellence. Wooden furnishings also easily blend another furnishing in the house. They add an opulent and classical appearance to the in the house. Every wooden log used in different furnishing makes designs look different and unique. Moreover, woods have grains in them that grow out to bring new designs.
Choosing the right material for your furniture
While the finest furniture can be expensive, both the kinds of wood and wood veneers, have pros and cons and it is absolutely up to one’s personal preference. The appearance of grains and knots on veneers come up exactly as it remains on wooden artwork and hence becomes difficult to distinguish between the two. A veneer is nowadays beautiful, environmentally friendly and can produce new designs. If you are searching for an outstanding and extravagant piece for your space both, veneer and solid wood have their exclusive properties creating masterpieces. As it is an investment for a lifetime, look for durability, all-natural aesthetic, awestruck appeal and minimal maintenance.
submitted by EuropeanVeneer to Plywood [link] [comments]


2020.02.02 19:07 Boomah422 The History of Mattresses

Humans spend an average of 227,760 hours or a total of 26 years sleeping in the course of a lifetime. We spend so much time in bed and have become used to modern mattresses, but the beds throughout history weren’t always the luxurious options we have today! We’ll take a look at the amazing and clever innovations of beds that humans have created over the centuries.
Although a growing number of consumers are now opting for more sustainable mattress options such as latex, there is still the important question of what to do about disposing of an old innerspring or memory foam mattress.‍

Ancient History

Before Homo sapiens, the smaller, chimp-like Homo erectus likely slept elevated in trees in order to take refuge from predators. Once early hominids discovered fire, researchers believe the early humans transitioned to sleeping on the ground since the fire would ward off any predators in the night. This is where the roots of the mattress began.
The earliest known form of a mattress dates back to approximately 77,000 years ago. It was discovered by archaeologists in a rock shelter located in Sibudu, South Africa. It was comprised of various types of grass and leaves, some of which were natural insect repellent to combat nuisances like mosquitos and other insects.
In present day, most adults in Western culture are accustomed to sleeping on larger sizes such as the Queen (60” W x 80” L) or King (76” W x 80” L), but this ancient mattress was measured at 36” W x 72” L and only an inch in thickness.‍

Ancient Egypt

Between 3000 and 1000 BCE, other cultures in early history began to adopt elevated sleeping surfaces as humans and civilizations evolved. In ancient Egypt, these raised beds were typically made from wood for protection from snakes and rodents. Raised beds were also helpful as a way of regulating temperature and to protect against cold and heat.
Despite hardwood trees not being native to the area, Egypt had a surplus of funds during this time that allowed them to import hardwoods and metals. While wood was the material of choice for modest beds, more affluent citizens owned beds that were adorned with gold, jewels, and ebony with wooden “pillow” and linen sheets for added comfort.

Classical History - Greek & Roman Culture

Much like the people of ancient Egypt, early Romans also elevated their mattresses - so much so that they often needed a ladder to reach them! Most Roman beds were made of wood, metal, or ivory and supported by ropes or string. For commoners, mattresses were comprised of hay while wealthy Romans stuffed their mattresses with multiple layers of more luxurious materials like wool or feathers.
Greeks of ancient times slept in beds that were quite similar to those in Rome, but with an emphasis on comfort. Klines appear like a modern-day sofa or daybed, but with a raised headboard attached. These unique sleeping surfaces had a wide range of uses from sleeping and reclining to sleeping.
Wealthy Greeks were set apart from common citizens by owning more than one kline - each with its own purpose depending on the intended use. Naturally, these upscale klines were typically decorated with lavish upholstery and precious materials.

Medieval Times

Beds remained mostly simplistic during the Medieval time period. The construction was still wood with mattresses that were stuffed with straw, hay, or similar materials. Poor citizens in this time typically only slept on piles of hay or leaves that were placed directly on the ground rather than elevated in what was called a bed box.
It wasn’t until the 12th century that beds became more decorative. For some elite wealthy citizens, bed frames were a symbol of wealth, crafted with intricate carvings and paintings and topped with embroidered mattresses. In the latter half of the Medieval period, mattresses were stuffed with down and became more popular and accessible to the majority of people.

The Modern Era

As societies entered the 19th century, elaborate statement beds fell out of favor and the popularity of four-posters fell out of style with a new emphasis on practicality. For instance, box springs were introduced as a way to reduce motion and prevent lumps from forming within the mattress. As the industrial age boomed, metal frames became more common in lieu of wooden frames. By the beginning of the 20th century, mattresses and bed frames could be mass-produced which meant comfortable mattresses were more accessible to nearly every class in society.
Mattresses of this time were also undergoing big changes with one of the most notable developments being the introduction of the innerspring mattress by Heinrich Westphal in 1871 and the invention of pocket coils by James Marshall in 1900.
Dramatic innovations continued to take off during the 20th century, officially ushering a new era of mattress and bed options. Latex foam - a completely different type of mattress material for its time - was invented by John Boyd Dunlop in the 1920s. With the help of scientist E.A. Murphy, the process was refined and the first latex mattress was made in 1931.

History Repeats Itself

Much like with fashion and music, old trends can become popular again. Although the past three decades have shown that the Western world generally prefers larger, more plush style mattresses like latex mattress topper, there have been signs of reviving a more minimal and simplistic style of bed.
From low-profile bed frames to mattresses with simple layers and materials, there has been a steady increase in returning to the roots we share with our ancient ancestors. Fortunately, no matter where you live, there are a staggering amount of choices to fit every preference that have been influenced by eras and cultures all around the world.
submitted by Boomah422 to latexmattresstopperin [link] [comments]


2020.01.02 14:49 jordanbeff Album of the Year #2: Quelle Chris - Guns

Artist: Quelle Chris
Album: Guns
Listen
YouTube
Spotify
Apple Music
Bandcamp
Background
One of Detroit’s true odd-balls, Quelle Chris got his start in 2006 with fellow wordsmith Denmark Vessey, forming the duo known as Crown Nation, releasing their debut LP $lutbag Edition in 2008. Linking up with Danny Brown shortly after, Chris is credited as a writer for many of Brown’s early work, even going as far to produce several tracks on The Hybrid. In fact, they ran in such a tight circle that Quelle used the same beat from Danny Brown’s XXX on his 2011 debut solo album Shotgun & Sleek Rifle; (Quelle’s “MTFO” uses the same beat as Brown’s “Nosebleeds”).
Quelle began his rise to underground prominence after his 2017 album Being You Is Great! I Wish I Could Be You More Often was met with critical acclaim, landing at #26 on Anthony Fantano’s end of year list, #11 on Rolling Stone’s best rap albums of 2017, and #12 on bandcamp’s end of year list.
Quick to follow up what was clearly his best album yet, shortly after getting engaged to legendary underground MC Jean Grae, these two came together in 2018 to release their collaborative effort Everything’s Fine, which was somehow even more well received than Being You Is Great. It was awarded Best New Music by Pitchfork, and was hailed as the best album of 2018, landing at #1 on bandcamp’s end of year list.
After two albums in back to back years, both of which are widely regarded as his best works, a big question arose. Could Quelle keep this hot streak alive? Would he be able to continue making his unique, odd-ball flavor of hip-hop work in his favor, or would his nasal tone and eclectic beat selection come off as self-indulgence for the sake of self-indulgence? On March 29, 2019, Chris was given the chance to confirm whether his past two albums success were an outlier, or if he would finally cement himself in this decade’s underground hall of fame.
Album Review
In Quelle’s own words, from his bandcamp page:
Guns is an arsenal of both sounds, styles and subjects. At its core it’s about things that can be weaponized for good or evil, including ourselves. The words we say, what we fear, how we love, how we live, what we ingest, what we believe in, who we idolize, shit like that. Somewhat a sonic study of the question “do ‘guns’ kill people or do people kill people?
On Guns, Quelle examines not only the obvious sources of violence in American society, the literal guns, but the root cause(s) of where these violent urges stem from. “Guns” simultaneously acts as a metaphor for how institutions are weaponized to hold people down, as well as the weapons we have to fight back against an inherently corrupt system. Quelle explores these concepts with beautiful intricacy and depth.
LITERALLY (more patriotic than pie)
With a title like Guns, you might expect Quelle to utilize an aggressive sonic direction, using the beats to act as a metaphor for the loud and violent state guns exist within. However, Quelle instead opts to let his pen sprawl the concept. With the opener “Spray and Pray”, producer Dane sets the tone of the album with a simple kick and snare pattern featuring a thicc snare, while a tall, walking bassline backs the drums, creating an unsettling, yet simultaneously comforting vibe for Quelle to spit his socially conscious bars with his trademark mellow and monotone flow. At only 1:30, Quelle is able to pack a surprising amount of thought provoking bars into the brief track.
Quelle sets the lyrical tone of the album, nailing several major points regarding gun culture in America with multiple tightly packed one liners. Mentioning his original friend cohort and their eventual lifestyle change, concluding that a 401k is more useful than an AK-47. Commenting on the culture surrounding gun safety that he has experienced; where young people refuse to utilize their safeties, and how that mentality translates into adults who are intentionally reckless with their arms. The most poignant piece of commentary here is found in the bridge, where Quelle uses “all guns for hire” as a metaphor for the massive lobbying power provided to the NRA, who use that power to spread misinformation regarding gun violence in order to maintain the current status quo.
This song ends abruptly, with Quelle seemingly getting ready to go in for a second verse, when he is stopped short by…
Praying the climate changing, this game maintained by the youth
Watching 'em run and gun 'til they grow up to be like (gunshot)
...you guessed it, a gunshot. Quelle uses the opening track as an opportunity to create a library of generic gun violence talking points, almost in an attempt to get them out of the way. This is what the album would be if he were to address this deeply nuanced topic from a strictly surface level perspective. Instead, we are blessed with Quelle diving deeper into the social and cultural aspects of gun violence on the following track.
We then dive directly into the title track “Guns”, opening with a cascade of jazzy piano keys and a super smooth synth chord progression to compliment it, which then breaks into these double time opened snare claps, providing Quelle an up-tempo, bright and colorful backdrop to spit hyper conscious lyrics, beginning with the foundation as to what drives American’s obsession with guns.
Not unlike many different cultural phenomena, Quelle views the American fanaticism with guns as a learned cultural expression. He provides a few examples of how a weapon, that ideally should be used for protection, can be normalized in a person’s youth to the point where it’s not viewed as a weapon anymore. If a twenty-two caliber bullet is viewed as “more patriotic than pie”, or if you learned how to fire a weapon before you could even spell, then gun use has been deeply ingrained into your psyche and is now a standard aspect of your life. However, it’s not simply the presence of guns that has been normalized; it’s the misuse of these weapons as toys, and their appropriation as status symbols that has been normalized. The bigger your guns, the stronger you are. This is a fallacy that Quelle builds around for the duration of this album.
In the second verse, Quelle is able to extrapolate the idea that guns are an integral part of American culture, imagining himself in the shoes of someone who was raised with this world-view, reacting to some of the proposed gun control measures.
They hollering give me back my bullets, Lynyrd Skynyrd, new Van Zants
If you own it, then you'll pull it, maybe so, probably not
They spend billions like civilians won't catch trickle from the top
Just to protect or to progress what but little bit we got
Bruh-bruh, I'm your friendly neighbor, I stay on yo block
I protect and service, I big game, buckshot
Ain't no cracking that code, ain't no safety on locks
Might as well get you one, procrastinating will get you popped
After reeling from the unsurprising animosity to the proposed gun control measures, Quelle attempts to bargain with this “person” (not really an individual, more a representation of a group think). As their “friendly neighbor”, he understands their desire for protection in their neighborhood. Quelle states that even he arms himself; although, it’s likely with a hunting rifle or shotgun. Eventually realizing that there is no “cracking that code”, or getting through to them. If they are not willing to listen, nothing will change, and his only logical course of action is to arm himself at an equal level to his neighbor because, as stated, “procrastinating will get you popped”.
This verse does an excellent job of illustrating how the gun control argument in America has progressed on both sides. Instead of being clearly biased, Quelle presents viewpoints from both sides of the argument; showing how deeply ingrained guns are in American culture, and why people might be hesitant to willingly give up an aspect of their culture that they have always known. Simultaneously, it also illustrates the reaction that some people might take when their ideas to curve the widespread violence are immediately rejected; a reaction that will not only not solve the crisis, but exacerbates it. The idea that “if everyone has a gun, we would have no gun violence” only provides a sense of security on an individual level, not a systemic one.
All this is subtly expressed through Quelle’s 16 bars. As he progresses in his career, Quelle’s pen has become more and more impressive. Listening to the guy who once wrote a song called Super Fuck spew these incredibly socially conscious lyrics is almost shocking.
RACE & THE LAW (for the black, for the white, it’s for all)
“Color of the Day” is a simple skit track, taking a subtle jab at law enforcement, and how simply performing mundane activities (walking, shopping, swimming, driving) “while black” is enough to get someone stopped by the police. Really, the skit is meant to provide some context to the following track, “Mind Ya Bidness”.
Sounding like something straight out of a 1980’s video game, and further confirmed that’s exactly what Quelle was aiming for, with the music video, the self-produced “Mind Ya Bidness” is a representation of a few things. On the surface, it’s an ultra low-key flex track, with Quelle describing his night at a club. Obviously, the first thing he does before he even leaves his house, is get baked with his wife. But don’t try to take his weed, he’ll have you praying for mercy. He then heads out to the club; the catch here being that Quelle doesn’t like to stunt.
I ain't tryna stunt, I post in the back
Can't eat with them niggas, most them niggas is actors
You ain't got no homies, all your homies is rappers
If Quelle’s at the club, he’s hanging out in a back room with his ride or die friends and a shitload of weed. He mentions how he can’t hang with these “actors”, likely meaning other rappers that are putting on a facade. You may have more heads in their section, but they’re not your homies. They’re just dudes who are trying to get put on and chase clout.
The chorus outlines a small bit of social commentary with a double meaning, connecting the mellow flex-track to the overarching theme illustrated throughout the record.
'Cause me and mine 'bout to shine, that's for motherfucking sure
Feeling VIP, fill a zip full of motherfucking smoke
We got brown, we got white and some motherfucking Guinness
If Quelle feels like it’s a VIP kinda night, he’s gunna take a zip of weed and head out with his friends. In this case, it’s a mixed crowd (figuratively and literally). He’s got black friends, he’s got white friends, and he uses “Guinness” as a metaphor for his mixed-race friends, as well as the literal interpretation of drinking beers.
And ain't nobody here tripping, so mind ya motherfucking bidness
This is the double meaning that Quelle is implying throughout the song. If a group of dudes are just chilling and not causing a disturbance, then there’s no real reason for someone (a police officer) to not mind his business and leave them alone. Chris’ poignant social commentary, speaking on the systemic racism that plagues law enforcement officers throughout the US, is illustrated in the music video as well; after being welcomed into the back room of the club and bartering with a dude, he is chased by a pig and put in handcuffs, while a white dude smoking a bong right behind the pig is ignored and gets off scott free.
I COULD STAND IN THE MIDDLE OF FIFTH AVENUE AND SHOOT SOMEBODY AND I WOULDN’T LOSE
“Mind Ya Bidness” ends with this real life quote from our Orange In Chief , delivered via vocal snippet collage, introducing the topic found on the following track.
Imagine; it’s 2007 and presidential candidate Barack Obama gets in front of the press and starts talking about the strength of his campaign. He says, “I could stand in the middle of Fifth Avenue and shoot somebody, and I wouldn’t lose any voters”. How do you think this would have been received? I can tell you now, he would have been ostracized by the media and would have lost all the political support he had, nearly immediately. But Donald Trump, a person who had been in the media’s spotlight for ages before he announced his candidacy, can say this and be met with a room full of applause. LAUGHTER. A ROOM FILLED WITH PEOPLE LAUGHED AS HE STATED THAT HE COULD MURDER PEOPLE IN BROAD DAYLIGHT.
And then he went on to win the fucking presidency.
“It’s The Law (Farewell Goodbye Addio, Uncle Tom)” opens with a plucky, walking bass-line, backing these off-kilter, slowly marching kick-kick-open-snare patterns, creating a beat that’s almost dragging its way through the track; an apt backdrop for the subject matter tackled, beginning with this skit:
It's God's and Nature's Law
That man attempt to prevail over his fellow man
Better to remember, that God is white
Would you mind repeating?
God is White; and as long as God is white
We will prevail over all other races
Both of these short skits are meant to outline white privilege; the former in a very real, recent vein, and the ladder in a more conceptual, abstract lane. It’s been well documented that Jesus Christ was not white, yet he is continually portrayed as a white man. Why? Why do people who worship Jesus, the supposed Son of God, insist on viewing him through this white-washed lense? It’s all about control. As long as God, or the Son of God, is white, they will prevail.
Both of Quelle’s verses on this track are packed full of metaphors and imagery that depict how white supremacy has been a keystone building block of the foundation of the United States. I’ll breakdown the subtleties of his first verse, as I find it to have some of the most intriguing metaphors and delivery I’ve heard this year.
Let he who is without cast the first 'Get-out-of-our-country'
Oh, the hypocrisy
Another tongue in cheek ode to the democracy
To help normalize the day to day atrocities
Quelle digs into this concept with brilliance right off the bat, repurposing one of Jesus’s most famous quotes (John 8:7) to call out the double standard of people calling for a wall to keep out “criminals and rapists”
By the law of the land, as planned by the man upstairs
From Lehem with the long blonde hair
The USA was intentionally founded as a country with religious freedom, yet it has somehow been misconstrued as a “Christian Nation” by any number of religious fanatics screaming for America’s laws to more accurately reflect the “morals of the Bible.” Quelle directly references the fact that Jesus, who was born in Bethlehem, Israel, a middle eastern country, is generally depicted as having long blonde hair.
Oh, the irony
All these multi-culti hatin' whities
Who fetishize some brown on ivory
AKA bless the USA
In the true blue bloods who trust, American Way
Quelle continues to poke holes in their logic, this time with a beautifully executed double entendre. The first of which being that white supremacists, who so vehemently hate black culture, fetishize the words of a brown-skinned Jewish man as the “law of the land”. The second of which being the fact that in todays society, southern states, which are generally associated with rampant racism and hatred of black culture, search for ebony and interracial porn at a far higher rate than the rest of the country.
Hate in the name of love
Sin ain't a sin if the pen pushes them vs. us
From under the ship to behind the truck
Behind the truck to the back of the bus
Now we makin' it?
Or going back where we was?
Progress is a long road
So buckle up
The treatment of African-Americans in this country could easily be viewed as a sin. That is, unless the laws of the US condone it, and until not that recently in terms of our country's history, they very much did. Quelle outlines a brief history of how the rights of African-Americans have progressed in the US, ending with a question. Have we made it? Have we reached a point where African-Americans are considered equal? Or have we regressed? Either way, buckle up, because progress is a long road.
This is easily the best verse I’ve heard this year. Not only is it unbelievably witty and well-written, but it’s delivered with such ease from Quelle that you might not even pick up what he’s talking about on first listen because his flows are so smooth and his rhymes are so tightly packed that you just want to listen to how effortless his raps are.
This song ends with the final iteration of the chorus...
It's the law, it's the law niggas
It's for me, it's for y'all, it's for all of us
For the straight, for the coochie and the ball lickers
It's the law, for the black, for the white, it's for all
...which then brings us back to the Donald Trump quote that initially lead us into the song. This is meant to drive the point home that laws are meant for everyone; except the 1%. If you’re part of the 1%, you are more than welcome to threaten murder on national TV; hell, it might even increase your poll numbers. And while historically, the law has been used to oppress people of color, Quelle now realizes that it has moved past just oppressing one race. It’s used as a mechanism to hold people in their current social class, and does not apply to people with money. Class is the new race, which is better for the oppressors, because it’s not illegal to discriminate against poor people.
GOD (and so will I… why not?)
Religion was touched on lightly in the previous track, the implication being that religion is the basis for the laws that have been so effectively weaponized to discriminate. “Wild Minks” follows in the tracklist, continuing the theme of religion; this time with a much more metaphorical and abstract approach.
The track opens with a lone piano note, and a few simple piano chords following shortly after. A very mellow kick-kick-kick-snare pattern that sounds like it’s been sat on eventually breaks into the track. Quelle added a layer of what sounds like vinyl static to the background of this track, making it feel distinctly lo-fi compared to the rest of the album, which sounds tightly polished and clean. Maybe this is due to the Mach-Hommy feature, whose vocals are consistently muddy and mixed down, even in his own music. Either way, this lo-fi hissing does detract from the verses spit on this song, making appreciating the subtle concept even more difficult. From a sonic standpoint, I’d say this is the low-point for the album. However this sonic shortcoming is more than made up for from a lyrical perspective. “Wild Minks” is, without question, the most complicated and abstract concept approached on this record. I’m going to do my best to break it down for you here, but I urge you to read the lyrics a few times before you read my explanation. A big part of what makes this concept so unique is the perspective from which Quelle writes his verse; blending true aspects of biblical scripture with absurdism, and using that as a metaphor for today’s society.
Quelle’s verse here starts out referencing Matthew 3:4, referring to John’s shirt of camel’s hair and his leather belt as “Wild Minks”. He then lays down an intricate and descriptive verse about John The Baptist and how he lived; detailing his affinity for substances, his desire for lavish compensation, his expansive housing, his high quality furs, his expensive diet, and how he’s considered to be cultured and refined by his friend group due to these things.
Wait, back up. John The Baptist wasn’t materialistic, was he? He’s considered a Saint in the Christian faith. How could someone who enjoyed such a lavish lifestyle be a literal Saint? As it turns out, very little Quelle details in his verse here is true about how John The Baptist lived. So why fabricate this detailed verse about his lifestyle? What am I missing here?
Quelle ends his verse with the perfect summation of the subtle metaphor outlined in this track:
Johnny boy wore wild minks, and so will I
Why not?
Chris uses the “wild minks” that John The Baptist wore as a metaphor to illustrate how religious scriptures can be easily lost in translation, and misinterpreted in ways that are far, even polar opposite, from their original intention.
If John The Baptist wore wild minks, what’s so wrong about me wanting to do the same? He was a Saint, after all. First off, a shirt made of camel hair isn’t exactly comparable to a “wild mink”. Even if that’s what it was referring to, during the time he was alive, the fact that he was wearing a wild mink implies that he was living in harsh conditions; he likely hunted those animals in order to stay warm and survive. However, in today’s society, a wild mink coat is considered a lavish and expensive luxury. Viewing this scripture from a strictly surface level perspective might allow one to interpret that living a materialistic lifestyle is condoned by the Bible.
His lyrics here reflect the absurdity of what it would have been like if John was to live with lavishness, with delicate complexity, such as:
Feasting on meats that was bled from the throat
Lambs and goats
Wiping the grease from said treats on the sleeves of his coats
Matthew 3:4 literally states that John’s diet consisted of locusts and honey. Quelle outlines the habits of today’s ultra-wealthy and re-appropriates them into the context of John The Baptist; making you realize the true absurdity of the way the 1% lives today, a lifestyle that has strayed quite far from what their “God” would condone.
Quelle’s verse here very subtly summarizes how scripture can be intentionally misinterpreted for personal gain and selfishness, expressed using extremely complicated and deeply coated metaphors, all of which sound buttery and smooth flowing from Chris, thanks in part to his complex rhyme schemes. This is undoubtedly the most subtle concept in the whole album. No joke, it took me a full week of dissecting these lyrics and studying John The Baptist to piece this metaphor together.
P.S. Fuck you and your shitty DMCA takedown requests Mach-Hommy!
YOURSELF (i par up bar for bar, pa)
While the first half of this album beautifully details the many ways in which our society is designed to hold people back, the second half of this album is about how we can combat it. As individuals, we don’t have the luxury of being able to design our country to benefit the few. We must operate inside the system we’ve been born into, and Chris is aware that the most powerful weapon we have to fight back against a corrupt system is our own success. This is what “Box of Wheaties” represents.
As some of you might already know, Quelle Chris recently changed the beat on "Box of Wheaties", presumably due to sample clearance issues. When I discovered this, I went to check his Twitter to see if he mentioned anything about it, and the very first thing I saw was this series of tweets that Quelle had recently pinned. He basically goes off on hating the streaming service industry, and how we are just borrowing music from Big Brother.
Really the most essential thing to take away from this, is that buying music is arguably more important than ever. By exclusively streaming music, you don't own any of it. It can be taken away in an instant by any number of frivolous lawsuits artists are slapped with on a regular basis. But, if you buy a physical copy of an album, no one can take it away from you.
I'm extremely lucky to have had the foresight to download the album to my phone, which has not yet been changed. However, one day when the data is corrupted, I will have no option but to re-download the tracks, and I will lose the OG version of "Box of Wheaties". BUT, I have the album on vinyl. And although it was pressed with an illegal sample, there is no court that can take away my vinyl. I have that version forever now.
Initially, I wondered if I should have my review reflect the original version, or the updated version that new listeners would experience. However, it’s clear from his tweets, this new beat is not what he envisioned or wanted for this album. He put out the version with this sample for a reason. My review will be reflective of the original version.
The beat on “Box of Wheaties” (originally) samples Les Hurdle - You’ve Got What It Takes, taking the smooth guitar melody and jazzy drums, pitching them down, and looping it to fit into the slow groove of 88 BPMs that “Box of Wheaties” so comfortably rests at.
Chris opens this track with a super catchy chorus, featuring a flurry of internal rhymes and the smoothest delivery you can imagine, listing reasons as to why he thinks you should find his face on a box of Wheaties, a place historically reserved for “Champions”.
Chris has been grinding in his profession for a long time. He’s been making music for well over a decade; at this point in his career, he’s 15 albums deep. If you had paid attention, he believes you would find his work is worthy of a spot on a Wheaties Box.
Now, if Wheaties were to start including artists (musicians, writers, actors, etc.) on their prestigious boxes, would Quelle qualify? Based on his overall discography quality at this point, I would say no. In my opinion, he has three albums that are worthy of true praise and accolades, all of which came out within the last 3 years. But that’s not what Chris is alluding to with this metaphor. His point here is, being confident enough to believe that he deserves the Wheaties Box spot is a major factor in manifesting that reality.
The way Quelle delivers this hook with absolute confidence in his ability, even mentioning that his raps are good enough to “par up bar for bar, pa” with any rapper in the game today, is an attitude that society could benefit from. Put in the work and know that the accolades will follow. This is exactly what happened with Chris’ work. After grinding for 10+ years, he finally began getting noticed in 2017 with Being You Is Great. Everything’s Fine was named bandcamp’s AOTY in 2018, and he has what I consider to be the best album of 2019 with Guns. But it starts with knowing that you belong there. Your thoughts manifest your reality. Put in the work and know it will come, and it will.
SLEEVELESS MINKS (smoke em if you got em)
If “Wild Minks” represents the many ways that the elite live to excess, “PSA Drugfest 2003” represents the limited ways that the 99% live in excess. Since most of us don’t have money to blow on lavish clothing, cars, or homes, we’re forced to find ways to cope with the stresses of living in this near-dystopian wasteland, and there is nothing more cost-effective at doing so than drugs.
Acting as the follow up to his song “Drugfest TooThousandToo" from his 2015 album Innocent Country, Chris takes the concept previously explored and amplifies the message. In “TooThousandToo”, he utilizes a crowds’ reaction to his mentioning of certain drugs as the litmus test for what drugs are good and what drugs are bad, eventually concluding that weed and mushrooms are the favorites from the crowd. In 2003, Chris has evolved his opinion, throwing caution to the wind with his drug choices. This is made clear right off the bat with his opening line.
This town ain't the right size for you and I
Six million ways to fly, who's tryna die?
Chris is rapping from the perspective of the average American, looking for ways to cope with the insane stresses that the elite have forced us to live with. He isn’t looking to be picky with his high, he just wants it to distract him. He starts with the spliff, but quickly graduates to harder drugs as the weed and nicotine high “got lame”; moving up the drug intensity scale as our drug tolerance increases and our social and economic injustice tolerance decreases.
When that shit got lame, we spiced up the game
Brought out the blades and lined up cocaine
Prefer it off white, but albinos, okay
To balance out the jump, we rolled it up Js
Making one last bible reference in the chorus here, he relates the American people to the sinners of Sodom and Gamorrah, implying that we would rather be dead than to continue to live in the wasteland that we currently exist within. And let me tell you, in a certain sense, he’s not wrong.
LOVE THY NEIGHBOR (trust me tho i seen it)
The track “Sunday Mass” is sandwiched between Drugfest and “Straight Shot”. This short, one verse song, delivered by Bilal Salaam, is essentially a laundry list of mass shootings from the past few years. Bilal refers to the Pulse nightclub shooting, the Las Vegas massacre, and the Texas shooting that occurred in a Baptist church, amongst others. This is used to set up the concept of the following track.
“Straight Shot” is a representation of a couple things. One, it outlines some of the hopelessness that many of us experience due to the long-term impact of the many weapons that society has pointed at us, be they literal or figurative. We get to watch our neighbors be executed by mad-men with guns on TV on a semi-regular basis, and then walk outside to a world that is literally designed to oppress you and make you complacent. It’s not difficult to see how the combination of horrors we are subjected to regularly can make people feel like there’s no point in being here. I know for a fact that I’ve experienced it, and I’m positive plenty of you have as well. Two, it’s a reminder for people who are feeling this way that there are reasons to stick around.
Featuring a verse from Brooklyn native Cavalier, "Straight Shot" is easily one of the most gorgeous and well composed songs on this record. Melancholy piano keys and a single bass note opens the track, followed shortly by Quelle singing the incredibly soulful chorus. He seems to be on the brink of crying, with his voice cracking as he sings along. A skeletal drum kit comes in after the first iteration, followed by a choir of voices singing the bassline melody, before the full drum kit kicks off Quelle’s verse.
Chris opens the track with a verse that’s very light, describing himself seeing the good in the world. He paints a picture of himself enjoying life; making the music he loves, laughing at his past pain, and stopping to sniff the flowers. He recognizes that he’s preaching to the choir, as his fanbase are generally people who might be aware of the issues he’s been outlining during the past 35 minutes.
Cavalier follows the chorus with a verse that paints a diametric view of the world. He describes his time on “this pitiful stone” as a Sisyphus Stroll, and his desire to leave it all behind. However, Quelle’s perspective in the previous verse has brought him back from the brink. Using absolutely gorgeous imagery to describe his misery, and his eventual conclusion that there are reasons to continue on; Cavalier realizes that the powers that be are the ones making him doubt his worth, and if there’s one thing he loves, it’s an underdog story, and standing against the ruling class in today’s society is about as big of an underdog that you can be.
EAT THE RICH (i’m tryna burn this bitch down)
The lead single for Guns, “Obamacare” features this absolutely haunting, choppy synth lead pounding away until a short piano melody erupts into the enormously heavy, and honestly sinister beat drop. On the surface, “Obamacare” seems like a simple flex track, with Quelle laying down ultra-confident bars, painting a picture of other rappers being terrified to take Chris on. However, watching the music video, you begin to realize the secondary meaning that he’s attempting to outline; anarchy.
Quelle’s hook game has been massively improved, even from his last few records, with the catchy chorus starting off with lyrics that any anarchist would be proud to chant in the streets.
I'm tryna burn this bitch down, I ain't tryna break in
Fuck your opinion 'bout us, to me don't mean nathan
I brought the wave, brought the rain, brought the lake in
Eyes on the cake and yours is for the takin', wait man
Lyrically painting a picture of a society that is sick of being oppressed by the ruling class and is finally ready to rise up, Chris’ anarchist nature is made very clear in the music video. The chorus features a robber burning down a building and making off with a comically sized money bag, while a cop, in an ironic twist of fate, is stuck behind bars, as well as a literal lake of blood rising while pieces of cake, depicted as boats, float around the blood lake.
If you were look at this from a surface level perspective, you would likely see a flex track, as Quelle’s second verse particularly comes off as “look at how much better I’m doing than you”. But watching the video, it becomes clear that he’s rapping from the perspective of the 1%. We see Chris and his “friends” sitting around a table, playing cards, while his verse details some of the privileges the 1% live with; being able to gamble money away while people in the lower classes would significantly notice a few more dollars in the paychecks. Their neighbors are high ranking pharmaceutical industry members with access to any drug they can imagine, vacationing together in southern beach houses, eating steak and eggs until gout forms. These lavish lifestyles are bound to anger the lower classes, who are literally starving. Hence the chorus’ overt “eat the rich” themes.
ROMANTIC LOVE & LEGACY (and when i win, we win)
Following “Obamacare” as a much needed positive note(s) to end the record on, the album’s love song, which features Quelle’s wife Jean Grae on the refrain, might seem a bit out of place on this album at first glance. However if you’ve made it this far into the review, you can likely conclude that Chris is making the point that finding the right person allows both of you to muddle through this hellscape known as our society with a bit more ease. You hold each other up in times of darkness, and celebrate big in times of light. One person’s victory becomes our victory. Quelle and Jean married in mid 2018, and if you were looking for a compelling reason to keep going on “Straight Shot”, Quelle is letting you know his with “You, Me, & Nobody Else”.
Finally, we are brought to the closer “WYRM”. This track shows Quelle ruminating over the idea of his legacy, and how he will be remembered when he’s gone with absolutely gorgeous lyrical expertise, particularly in his first verse. He’s aware that most people who are born into this world are forgotten sooner than later, and the only way to be truly remembered is if you have a worthwhile legacy. Calling back themes previously mentioned throughout the album, he feels like he's done enough to be remembered, but don’t we all?
Will you remember me?
Am I just a moment for few to see?
Another black face rapping nigga on a cash chase?
Dozen for a dime, penny for your mind at one time?
Chris is aware of the saturation of rappers in the game now and worries that his legacy will be downplayed and forgotten due to the direction he took his art in. Rappers who are making music just for the money are a dime a dozen lately, and he’s concerned that his legacy will be tarnished due to those who aren’t in it for the right reasons.
Overview
This is by far Quelle’s best album to date, in my opinion. Guns does an unbelievably gorgeous job identifying the many ways our society has been oppressed into submission, while simultaneously summarizing how we can rise above the few and be better people for it with intricate detail. Chris’ lyrics are sharper and more layered than they've ever been, and the self-produced beats are beautiful beyond words. Guns is not only a milestone for Quelle Chris’ career, as this is by far the most cohesive and conceptually brilliant piece of work he’s ever released, but it also represents a breaking point in our society, as well as the framework for how we can better ourselves and the people around us on the long road ahead. Quelle has nailed every aspect of this project, stringing these 13 tracks together into a album that is far greater than the sum of its parts.
9.2/10
Favorite Lyrics
Talking Points
  • How does this album compare to the rest of Quelle’s discography?
  • Do you think I’m reaching with some of the points I made during this review?
  • What are your favorite lyrics?
  • How do you think this album will be looked back on in 5 years?
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