text:
Time Goes By…

July 19th, 2013 Posted by david brothers

I’m at San Diego right now, chilling in a hotel room. It’s busy, it’s nice, I’m digging seeing the show from this direction. But I need to write, and so I’m writing this:

I love weed songs, from Bone thugs~n~harmony’s “Buddah Lovaz” to Kid Cudi’s “Marijuana.” I’ve had OutKast’s “Crumblin Erb” stuck in my head for a couple weeks now, particularly Sleepy Brown’s work on the chorus, which is one of my favorite of his performances:

There’s only so much time left in this crazy world
I’m just crumblin’ erb
I’m just crumblin’ erb
Niggas killing niggas they don’t understand
What’s the master plan?
I’m just crumblin’ erb
I’m just crumblin’ erb

I’ve been thinking about this song, mostly by mulling over the lyrics as best I can remember. Andre’s “splish/splash/of blood” bars stick out, Big Boi’s first four bars or so are stupendous, “sprinkle sprinkle motherfucker, don’t be crying on me” is one of those things I’d love to say in real life, but what I only just realized now–and please believe by “now” I mean 8:00 on Friday morning, July 19–is that this isn’t a song about the joy of getting high. It’s a weed song, but it’s not a weed song.

I love Meth & Red’s “How High.” It’s an OG weed song as far as I’m concerned, and it’s basically just a regular rap song with tight lyrics that talk about weed. “Crumblin Erb,” like a fistful of other references to weed in rap, isn’t about how being high feels good in and of itself so much as how being high feels good because it pushes back against the pain. It’s melancholy, not exuberant. It’s a coping mechanism.

I feel like I knew this before now, because I’ve honestly listened to pretty much every OutKast song a hundred and fifty-eleven times, the joints on Idlewild included, and they’re one of my favorite groups, so they occupy a lot of space in my head. But I didn’t know it in relation to, say, Tupac’s “Krazy,” which has this for a chorus:

Time goes by, puffin on lye
Hopin that it gets me high
Got a nigga goin cra-zy
Oh yeah, I feel cra-zy

Before segueing directly into these four bars:

Last year was a hard one, but life goes on
Hold my head against the wall, learning right from wrong
They say my ghetto intrumental detrimental to kids
As if they can’t see the misery in which they live

Or this verse from Deck on “CREAM”:

Though I don’t know why I chose to smoke sess
I guess that’s the time when I’m not depressed
But I’m still depressed and I ask what’s it worth?
Ready to give up so I seek the Old Earth
Who explained working hard may help you maintain
to learn to overcome the heartaches and pain
We got stickup kids, corrupt cops, and crack rocks
and stray shots, all on the block that stays hot

Or even Layzie and Krayzie Bone’s couplet toward the end of “Buddah Lovaz”: “It’s a Bone thang how a nigga like me smoke and maintain/ Maintain, maintain.”

“I’m maintaining” is a phrase I love and have used myself, the rap version of “I’m fine.” I can only hear it in El-P’s pitched-down voice from “Tasmanian Pain Coaster” now, part of the first verse on the song. I bit & edited these lyrics from OHHLA but they seem pretty right:

Bumped into this kid I knew, he often would walk strange
So I ignored the blood on his laces so this cat could save face
The dunks and the gaze stayed in an off-grey haze
And the lump in his pocket talked to the ox that he clutched safe
So I saluted him there, waiting for the A
Trapped on the empty platform without the option to escape
Gave him the standard: “Yo, what up man, how you landing?”
And the hypnotized response was no surprise: “I’m maintaining.”
“Yeah, we all do, that’s the standardized refrain
“But on some really real man, good to see you, really, what the dealy deal?”
Oops, fuck, screwed the pooch, asked too much, knew the truth
On the train now, a caboose
In his brain now, no recluse
80 blocks to uptown spot, destination vocal booth
MetroCard like: “You get what you pay for, stupid!”
No excuse
He pulled his hoody off his cabbage, rugged practical
And began to fancy the words I mistakenly jostled loose
The stogie he brazenly lit where he sit looked legit
But when the flame touched to the tip I could smell it’s of another nit
He leaned his head back and inhaled the newpie dip and said:
“The whole design got my mind cryin’, if I’m lying I’m dying.”

Even Kid Cudi’s “Marijuana” leans melancholy. “I-I, I be on it all day like my nigga Big Boi said/ That’s the only thing that keep me level up in my crazy head.”

Lauryn Hill is the queen of this, though. Remember “Ready or Not”? How ill of a way is this to open a verse: “Yo, I play my enemies like a game of chess/ Where I rest no stress if you don’t smoke sess.” I love it so much. Rap music!

I don’t have a point or big revelation here for you at all. I already knew that weed is an amazing coping mechanism, and I knew that rappers sang about that aspect of it regularly. But I was struck by how “Crumblin’ Erb” took root in my head recently and that I never made the obvious connection that the song made between weed and melancholy, between weed and what we like to call The Black Condition.

This is what people mean when they say rap is real or the CNN of the streets. This is rap reflecting life reflecting rap reflecting life.

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THUG LIFE: Manhood, suicide, and love

September 19th, 2012 Posted by david brothers

Almost ten years ago now, Cameron “Killa Cam” Giles, one of my favorite rappers, launched an assault on the rap industry. He came out wearing pink polos and pink fur coats while driving a pink Range Rover. It was a dare and a dis, all wrapped up in one incredible package. The dis was that Cam was so much more secure in who he was than every other rapper that he could co-opt pink, a feminine color, and rock it like it was all black everything without losing any of his manhood. It dared other rappers to say something about him, so that he could turn any of their attacks back on them. “I dare you to test me over what I’m wearing,” the pink seemed to say. “We’ll see who the real man is.”

Killa Cam botched the dis from word one, though, by clinging to “no homo.” Any power his pink swagger might have held over insecure rappers was utterly defused by Cam’s own insecurity and fear of being seen as feminine or homosexual. He went from alpha male to typical punk over the course of three short syllables, snatching defeat from the jaws of victory.

One of the worst things about having a rough year are those moments of clarity that come along every once and a while. They aren’t respites from pain so much as a quick gasp of air before returning to drowning. They give you a chance to understand exactly how far in over your head you are.

I had one twelve days ago, and it hurt. It hurt so bad that I had to sit down and write out exactly what’s gone wrong and how I could fix it. It started as something I thought about putting on the internet and quickly turned into a conversation with myself. No, it quickly turned into a heated and honest conversation with myself.

I wrote out where I’d been lying to myself, what I’ve been doing wrong, what’s gone wrong, and how I got here. I wrote out where I wanted to go and why I’m not there yet. I cussed myself out and smoothed myself over. I admitted that the best I’m able to do lately, physically/emotionally/mentally, is “I’m maintaining.” I tried to work out solutions to the things I could handle and a gameplan to treat water until I could handle the things I currently can’t. I made it a point to make myself uncomfortable, to be even more unfair to myself than I generally am, so that I could get the job done.

The solutions, such as they were, weren’t the hardest part, but they were close. I don’t have many, but I wrote down a lot, just to see how they tasted. Reasonable ones, unpleasant ones, unthinkable ones, I wanted to know how they all felt jockeying for position in my head. So I wrote them.

I looked at a certain subset of those solutions and said, “No. These are weakness. Unacceptable.” And I crossed them off my list and put them out of my head. Accepting them would have drastically changed who I am and how I live in ways that are uncomfortable to think about. So I rejected them. I don’t want to be weak.

Malcolm X, 1965: We declare our right on this earth to be a man, to be a human being, to be respected as a human being, to be given the rights of a human being in this society, on this earth, in this day, which we intend to bring into existence by any means necessary.

I latched onto Malcolm because he didn’t beg or plead or ask. He told. There’s something attractive and powerful about that, when you’re small and unsure. Something real manly. Something strong.

“I am a man. You are going to treat me like one, or you — not me, you — are gonna have a problem.”

I’m an ’80s baby. I was born in 1983. My mother raised me. My father didn’t. Without a template to follow, my idea of manhood is a patchwork affair. A little Tupac, a little Malcolm, a little Denzel by way of Malcolm not much Martin at all, a little of my grandfather, probably a little of Shawn Corey Carter, a little of my uncles, and a little more from here and there. Instead of being shown, I had to figure out manhood for myself. Trial and error. What skin fits the best? What school of thought will get me killed? How hard do I have to try to get this right? Can I get this right?

I know where I stand on a lot of things. I avoid passive-aggression at all costs. If it’s important enough for me to want to pass-agg somebody about it, it’s important enough to be worth naming somebody’s name. I frown when my friends go pass-agg over something. I believe in being direct, because that is what a man does. No dilly-dallying, no fooling around. You get it done as efficiently and cleanly as possible. I learned to work until the job is done, no matter what it takes, from my grandfather. I learned to get in somebody’s face when they treat you like trash from my mother.

I still don’t have it figured out.

There are a lot of men like me.

Kendrick Lamar, “Chapter Six,” from Section.80: There’s a more important topic I’d like to discuss: the dysfunctional bastards of the Ronald Reagan Era. Young men that learned to do everything spiteful. This is your generation. Live fast and die young. Who’s willing to explain this story?

When interviewing Ron Wimberly about his graphic novel Prince of Cats, I said: “Tybalt, like the world of Prince of Cats, feels so familiar. His suicidal rush toward manhood and respect reminds me of… honestly, almost every black man that I’ve known, myself included.”

“Suicidal rush toward manhood and respect.”

I don’t know if I stole the turn of phrase from somewhere. I probably did. Regardless, it’s an apt description for what I’m trying to talk through. We want to be men, by any means necessary (“by a very specific set of means, all of which are necessary,” maybe), and that means proving ourselves against other men. “Give me the respect I deserve or I’m going to take it by force.” “Time is running out, tick tock, like the grains of sand. Every man sharpens man, like steel sharpens steel.” Boys, desperate for the attention of men so that they might be seen as peers, as equals, instead of children.

Live life reckless.

Part of that suicidal rush is rejecting the soft and the feminine. In figuring out what it means to be a man, you define your manhood by specific absences. You discard forgiveness for vengeance, defeat for victory. Death before dishonor. Being a man is inviolate, and anything that tests your manhood, that shows you anything less than the respect you feel you deserve, is targeted for destruction.

Cee-Lo Goodie, on Goodie MOb’s “The Experience”, from Still Standing: So many black men out here trying to be niggas, keeping it real to the point that they dying to be niggas.

I look at Wimberly’s Tybalt and I see a man that’s uncomfortable expressing love directly to his loved ones, but eager to show his love by demonstrating exactly how much he’s willing to hurt whatever threatens the object of that love. “I love you” is hard. Putting a blade to someone else’s throat is easy.

Romeo’s intrusion into Tybalt’s life, and attraction to Juliet, is an insult. He’s a rival, someone to be defeated, not someone to love as a brother. So, instead of having a conversation with Juliet after he discovers that she’s married a man he hates because they’re in rival crews, Tybalt steps to Romeo. “Thou art a villain,” he says, and dies a man.

But imagine what happens when your new husband kills your beloved cousin over petty beef. Imagine the trauma, the hole that would leave behind, all for the sake of manhood.

Big Boi on OutKast’s “Return of tha G” from Aquemini: Man, a nigga don’t want no trouble. A player just want to kick back with my gators off and watch my lil girl blow bubbles. But still ready to rhyme, standin’ my ground, never back down, willin’ to rob, steal, and kill anything that threatens mine.

Drake first hinted at an upcoming Aaliyah project during an interview with Tim Westwood in March. “I have some great Aaliyah news coming soon,” Drake told Westwood, adding, “You know it’s hard for me to ride around to a female singer because at the end of the day, you’re a man, but she always kept it so G with the writing and the melodies. It was something to ride to, especially when it was chopped and screwed. That’s when I used to love.

Aubrey Drake Graham on Aaliyah

Drake is either playing a role here — and by that I mean lying — or he’s insecure. That’s the only excuse for what he’s saying here. The idea that Aaliyah was more of a gangster than other singers (she wasn’t, that’s silly) and is therefore more appropriate to rock in your whip is insane. Who thinks like that? It’s a parody of thugs, which Drake is most definitely not.

This is what happens when you grow up spiteful. This is what happens when you are obsessed with being seen as, not just a man, but more of a man than most men. You reject your own history and your own softness. You define yourself not as a man, but as not-female, and you reject anything that feels female to you.

Drake is implicitly dissing Aaliyah here, and more than that, he’s dissing every woman singer and rapper that came before her. He’s dissing Lauryn Hill, Sade, Janet Jackson, Aretha Franklin, Ella Fitzgerald, Toni Braxton, Alicia Keys, Whitney Houston, and everyone else who helped provide the soundtrack to our lives and history. He’s lumping them together as something soft and not-gangster, something I think those women would be pretty surprised to hear, considering the nonsense (nonsense just like this quote!) they had to fight through just to be heard.

Drake once said that he was the first rapper to successfully sing and rap as a style. It’s a boast, another desperate grasp at a thin vision of manhood. “Nobody’s as good as me, you know? I’m just the real deal.”

Lauryn Hill and Missy Elliott would beg to differ.

Andre 3000 on OutKast’s “Return of tha G” from Aquemini: Return of the gangsta, thanks ta them niggas who got them kids who got enough to buy an ounce but not enough to bounce them kids to the zoo or to the park so they grow up in the dark never seein’ light so they end up being like yo sorry ass, robbin’ niggas in broad ass daylight, get down.

It’s a cycle. The average black man only influences a small number of people over the course of his life. Children, friends, cousins. Coworkers maybe. They can give people poison or peace, depending on who and what they are, and those that are influenced in turn influence others. I didn’t become a man and suddenly know exactly what manhood entailed. I had to be taught, I had to figure it out, and at some point, I’m going to end up passing that on. Actually, I already have. I have younger cousins who looked up to me when I was growing up, and I’ve undoubtedly influenced them already.

I can look at my mother and see my temper. I can look at my father and see my distance. I’m an amalgam of what I’ve learned, and those that I will influence are the same thing. We feed off each other and others. Each one teach one.

Drake has an audience who listens to his words and are piecing together their own fragile manhood, too. My audience is maybe two dozen strong. His is larger, much larger. And when Drake demonstrates his insecurities in public, people don’t see a small man desperate to be seen as something larger. They see a famous, successful man, a man women want to sleep with, and they digest his words in that context. I did it with Jay-Z, Mos Def, DMX, and the Dungeon Family. I internalized a lot of poison because it seemed like the right approach to take. I worked some of it out. I absorbed some of it. Work in progress.

This cycle won’t ever end. It’d need a seismic, or apocalyptic, shift in society to force that change. But the cycle is a vicious one, and it results in stunted and deficient men. Men who have no idea how to be men and keep picking the wrong route on their way to an early grave or a poisoned life. Not always, obviously, but too often.

We’ve got to change the situation, but that’s a tall order, isn’t it? There’s so much inertia, so many ingrained prejudices and ideas to work out. I don’t know how to fix it, but I do know that I can’t support these fakes.

But then, even though I don’t support these fakes, I definitely get down with a few others who are fake. So maybe it’s all bad. Everything. I’m not man enough to make a decision I can consciously recognize as being the right decision for whatever reason. So, in a way, I’m propping up and perpetuating the same thing that I hate.

Tupac Shakur: The Hate U Give Little Infants Fucks Everybody.

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Screw Music: Cocaine Pentagrams and the Twerk Team at a Black Mass

February 17th, 2012 Posted by david brothers

The Damon Albarn Appreciation Society is an ongoing series of focused observations, conversations, and thoughts about music. This is the fifteenth. I realized I had a lot of screw music in the official rotation. It’s a type of music I like a lot, but find it hard to articulate why. There’s a good reason for that, I think. I keep going to a few key words, though–it sounds evil, it sounds wrong, it sounds off, it sounds abstract, it sounds sideways, it sounds like Hell… it sounds great. It’s just that whenever those monks get around to updating the Ars Goetia, they’ll have to add a footnote that King Paimon is the patron demon of screw music.

Minutes from previous meetings of the Society: The Beatles – “Eleanor Rigby”, Tupac – Makaveli, Blur – 13 (with Graeme McMillan), Blur – Think Tank (with Graeme McMillan), Black Thought x Rakim: “Hip-Hop, you the love of my life”, Wu-Tang Clan – Enter The Wu-Tang (36 Chambers), On why I buy vinyl sometimes, on songs about places, Mellowhype’s Blackendwhite, a general post on punk, a snapshot of what I’m listening to, on Black Thought blacking out on “75 Bars”, how I got into The Roots, on Betty Wright and strong songs

Drive by Xheathcaresx

Press play on this joint while you read.

I’ve been thinking about writing about chopped and screwed music for a while now. This cat named Heath Caring created a C&S version of the Drive soundtrack and it came on my radar a little bit ago. I’ve been regularly spinning it ever since. The problem is that the appeal of screw music is such a weird and specific thing. Screw music is post-modernism stacked on the already pomo origins of rap. I’ve been mulling it over for days, trying to find an angle of attack, but it’s a slippery subject.

My man Ray, a dude who has put me onto a lot of good screw, recently said this while spotlighting a new screw mix:

I’ve come to realize, trying to explain chopped and screwed music to people makes you sound like you’re fucking insane. The idea of slowing down music and making it skip on purpose isn’t the easiest thing for heads to imagine. That’s why instead of explaining what the music actually sounds like it’s best to describe the feeling screw gives you. Sometimes you feel like you’re being dragged through a black hole where time and space are being warped. Other times screw feels like you’re at a dope pool party but you spent the entire affair chillin’ out at the bottom of the pool listening to the DJ do work.

And that’s it right there. It’s about the music, but it’s not. It’s about how it feels. Listening to screw, whether you’re sober or high, is like listening to regular music, sure. There’s a beat, and you can bop to it. You might could even do a slowed down version of the wop to it if you had the right song, and I mean the wop that your parents used to do when they hit up house parties, not the wack dance that swept youtube a few years back. But screw music is… it’s like abstracted rap. Not abstract, like Q-Tip or Aes Rock. Abstracted. Taking a thing and making it different. It’s psychedelia for people who were raised on Three 6 Mafia and UGK instead of The Beatles.

But it’s real hard to explain what screw music sounds like to people who can’t parse the idea that DJ Mr. Rogers’s chopped and screwed version of Drake’s “Say What’s Real” sounds like the feeling you get when you walk into a black mass in the basement of the club by accident and realize that the chief anti-priest is your ex-girlfriend. The way the harmonious melody in the background is slowed down changes its sound from a generic triumphant rap orchestra into a funeral dirge, Drake’s voice goes lower and he’s enunciating clearly, but the track keeps skipping and hopping and stripping all the smooth charm out his voice. That feels different from “I like how John Lennon sings this song because you can hear the hurt in his heart” to me.

I’ve been describing that screwed version of the Drive soundtrack to other people as evil, like a house party in Hell in the ’80s where all the coke’s run out. Kavinsky’s “Nightcall” turns into something else entirely when the upbeat synth-pop gives way to a voice that moans and groans the words out and the synths are stretched to the breaking point. It sounds slow, is the thing. It sounds wrong, and I mean wrong in the sense of what it feels like to come into your house and realize something is out of place, but not being able to figure out what that out of place thing is or who could have been in there but you. “Nightcall” turns into the musical equivalent of a gross leer, and you can’t do anything but let it wash over you.

The wildest part of the mix to me is the point when Kendrick Lamar’s “ADHD” rolls in. I didn’t even realize that it had faded in on my first listen, because it’s slipped in there so smoothly and the song sounds so different. There’s a great thematic link between Drive and Lamar’s Section.80, but the screwed “ADHD” tripped me out. It fits so well, and the Clipse joint that comes after is tremendous.

It sounds so full, like it’s just overflowing out of your speakers. It sounds like something you want to bang so loud on your speakers that your neighbors spontaneously shatter into dust from the bass. Like a… like a sustained earthquake, or something. It rolls over you and makes you feel trapped. Claustrophobic. The lyrics twist and turn uglier than they might be at first glance when they’re this slow.

This specific example of screw music is like the most comfortable uncomfortable situation ever, like the tail end of what happens when you screw up and eat an entire hash brownie, not realizing you only needed half to get right. It feels like that last hour or so of being over-high for thirteen hours straight, when you’re done panicking and you know you’re way too high, but man the couch feels too good right now and you feel so relaxed and life is so nice that it’s all to the good.

I like this Lil Sprite mix Ray hooked up, too. It’s called Cocaine Pentagrams, which makes it incredible from jump. Sean Witzke was on Twitter talking about how it made him think of David Bowie’s Station to Station, and I hadn’t made that connection, but it’s dead on. Station to Station is an incredibly funky album, and one of my favorite Bowie joints. He was so coked out while working on it that he doesn’t even remember doing it.

At the forefront of my mind was Andre 3000 beginning a verse “I came into this world high as a bird from second-hand cocaine powder” and ending another “They call it horny because it’s devilish, now see, we dead wrong.” on ATLiens. Bowie is just the icing (provided by Freeway Ricky Ross and the CIA) on the cake, the missing puzzle piece that pulls it all together. Just from the start, Cocaine Pentagrams is ill, and that’s without even hearing a single word. It’s evocative. It’s the precursor to an experience.

It’s not just about slowing down a song or getting high and turning on an mp3. It’s an experience that’s different from how I regularly listen to music. I try to really listen when I’m playing songs, but with screw music, I just go with it and see what happens. I do a lot of writing to screw music. It just sorta sits at the back of your head, infecting your subconscious until you’re through. It’s music that’s easy to absorb when you aren’t thinking too hard about it.

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“new york is killing me”

July 7th, 2011 Posted by david brothers

The Damon Albarn Appreciation Society is an ongoing series of observations, conversations, and thoughts about music. Here’s the eighth, which I thought would be about the different ways people make songs about places, but instead changes tracks partway through. C’est la vie.

Minutes from previous meetings of the Society: The Beatles – “Eleanor Rigby”, Tupac – Makaveli, Blur – 13 (with Graeme McMillan), Blur – Think Tank (with Graeme McMillan), Black Thought x Rakim: “Hip-Hop, you the love of my life”, Wu-Tang Clan – Enter The Wu-Tang (36 Chambers), On why I buy vinyl sometimes

I took a trip back home in May, and a near-lethal dose of melancholy and shattered nostalgia left me thinking about how we relate to places, whether literally or figuratively. Where’s home? Where’s far? Is it a state of mind or familiar wallpaper? The usual rigmarole.

Listen to this while you read.

I listen to a lot of music that’s based around being from somewhere. Ages ago, Havoc of Mobb Deep said “Fuck where you’re at kid, it’s where you’re from/ ’cause where I’m from niggas pack nothing but the big guns/ Around my way, niggas don’t got no remorse for out of towners/Come through fronting and get stuffed with the 3 pounder.” The message is plain: where I’m from made me who I am, and all loud mouth foreigners need to remain strangers for their own sake. Where you’re from is part of your identity, right? That’s why there was inter-borough beef in NYC rap, and then bi-coastal beef, and then Andre said “The south got something to say” and bam, the Dirty South began vocally demanding attention.

There’s a couple different ways to make songs about places, near as I can tell. You can do the literal thing, where you explain what the place is all about, who lives there, or why people should care. The other option is to make a song about what it’s like to be from somewhere. You’ve got to put your soul on wax for that one, I think.

Though now that I write that out, those two things are the same thing, aren’t they? I’ve been mulling this piece over for a few days now, and was going to make that division the heart of the post. But nah, talking about a place has to involve what it’s like to be from that place, consciously or otherwise. Body language, word choice, even what you choose to describe and leave out all build a certain mental image, and it isn’t an unbiased one. I’d describe Georgia in terms I wouldn’t use for San Francisco, due to how I feel about the city and how I feel about back home.

This was going to be about music, not me. Switching gears.

The sound people choose to use when making songs about places is always interesting. “Amarillo,” off Gorillaz’ The Fall, is this slow, melancholy tune, with a rushing wind and hollow sound. It’s the music that plays when you’re driving alone down a highway in the dark, and the lyrics are about being alone and broken. It’s sad, and a very specific type of sad. I’ve never been to Amarillo, TX, but maybe that’s what life is like down there. I imagine that’s how Albarn felt, or maybe how it struck him, at least.

Gil Scott-Heron’s “New York Is Killing Me”–I wrote something on this for Tucker a while back, here’s a quote:

“New York is Killing Me” is everything and nothing all at once. The beat is sparse, with a deep drum coming in over some rapid fire snaps and a brief acoustic guitar, but it’s incredible. Gil Scott-Heron is from an older tradition than rap, but tell me that this beat doesn’t sound like a descendent of The Neptunes’ sublime “Grindin.” Throw Gil Scott’s gravelly, aged voice on top of it and you’ve got something that sits in the blues range. And when the backing vocals come in for “Lord have mercy on me,” and you’re looking at gospel. The positively mournful “I need to be back home” toward the end? That’s soul. Add in the entire point of the song, which is that the city is an unfriendly, cruel place and sometimes you’ve gotta return to the country, and you’ve got a song that’s black history spread over the course of four minutes and thirty seconds.

This is a funked out blues song, like the story you tell about a break-up to your friends with a smile on your face. It’s been long enough to be a story you can tell at a party without it being a whole thing, but not quite long enough. It wavers, the smile does. That moan at the bottom of certain lines, the “I need to be back home,” all of that is regret. You’ve got to leave where you’re from because it’s the healthy thing to do.

I like the differences between Atmosphere’s “Los Angeles” and Tupac’s “To Live and Die In LA.” Slug’s vision of LA is a brief burst of sights and sounds. His “I love it” at the end is true, but it sounds a little hollow, like when people say they love a restaurant with a sandwich they like or something. He likes it, but he’s not afraid to mock it. Tupac’s feels different. He has the advantage of a smooth track on par with “Summertime in the LBC” (another good song about a city, and perfect for cookouts) backing him, and he takes you on a tour of LA and everything he loves and hates about the city. I sorta feel like there’s two LAs. I know a gang of people who hate LA, but the ones that live there seem to like it well enough. It’s one of my favorite places, and I try to visit at least once a year to see friends. Atmosphere’s “Los Angeles” seems like it’s about the LA that’s known for scandal and artifice, while Pac’s is more personal, like an insider dropping knowledge on someone new.

Black Star’s “Respiration” is theoretically about New York (BROOKLYN!) and Chicago, but it’s universal. It’s what I think of when I think of what cities are like. They’re claustrophobic and alive, and there’s no place better on Earth.

Big Boi’s “West Savannah” and Scarface’s “On My Block” fill the same niche in my head. Both of them hit you with rapid-fire details. “West Savannah” may be more biography than travelogue, but the picture it paints is vivid enough to create a picture of a young Antwan Andre Patton chilling on street corners as a kid. He breaks down the music, the spectacle, the gold teeth, even how folks drive their cars. Face’s “On My Block” hammers you with details over his three verses, and I like that he’s using the first person plural. It’s a song about a group of people, the people Scarface came up with and live in his city, instead of one person’s point of view. (Big Boi’s line “You might call us country, but we’s only Southern” is killer. There’s so much personality in that, both Big’s and the city’s, and really, Georgia’s.)

Anthony Hamilton’s “Comin’ From Where I’m From” isn’t about a specific place, exactly, but it is about this nebulous idea of home. It’s a sad song about starting in last place, basically, and never managing to catch up. Like, the “where I’m from” that Hamilton is talking about has gravity, and that gravity is inescapable. His father bounced early, but haunts his life, get it? Home isn’t just four walls and a bed. It’s a period of time, or a foundation for the future.

Maybe I’m just talking out loud since what I thought was a good point deflated itself as soon as I crystalized it into words, but there’s something about songs about places and, more specifically, home that I can’t get out of my head.

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“It’s a new way of thinkin’…” [On Vinyl]

May 31st, 2011 Posted by david brothers

The Damon Albarn Appreciation Society is an ongoing series of observations, conversations, and thoughts about music. Here’s the seventh, which is about how I listen to music, in a way.

Minutes from previous meetings of the Society: The Beatles – “Eleanor Rigby”, Tupac – Makaveli, Blur – 13 (with Graeme McMillan), Blur – Think Tank (with Graeme McMillan), Black Thought x Rakim: “Hip-Hop, you the love of my life”, Wu-Tang Clan – Enter The Wu-Tang (36 Chambers)

Aww, Mr. Death To All Print Media is buying records now? What a hypocrite.

I regularly carry around a tiny device that lets me hold two thousand songs. My mp3 collection is over twenty-five thousand songs deep, and the distance between “thinking of an album” and “being able to listen to that album” is getting smaller and smaller each day. One side effect of the rise of MP3s as my preferred format for music is that music itself has been devalued, and any associated rituals eliminated.

If I want to play an album, I flick my thumb up and down a screen that’s probably an inch and a half wide and tall. On my computer, I have hundreds of albums that I can play one after the other in a random order, and if I let it play through, I wouldn’t hear the same song twice for weeks. iTunes is Jukebox Plus, a program that can hold every song ever made and play whatever I want, whenever I want.

Music used to be something you did, in addition to listened to. You had to fast-forward through cassette tapes to get to the song you wanted, or hope you put the tape in on the right side because the text was rubbed off. I used to have a bunch of unlabeled CDs in my car that were random mixtapes. I would shuffle through them in the morning, find the one that was the least scratched, and throw it in.

There was a ritual. You had to do something to make music go. Every album was a discrete unit, rather than being part of a mass.

So, when a friend offered me the Hanna soundtrack on vinyl, I thought about it and said, “Why not?” I grew up around records, though I rarely played them as a kid. They were around, but our needle broke at some point, so they never got played. I went out, picked up a cheap turntable, spent a few hours trying to get it to work with my computer the way I wanted, and then went out buying vinyl.

I set some ground rules for myself before I went on a mad shopping spree, though. If there is going to be a ritual to my music playing, then it’s going to be with music that’s worth it. No singles and no EPs. Anything I buy would have to be actual albums that I can bump from top to bottom, rather than anything I ‘sorta like.’ I’m only buying things I already own here, in whichever format, so the outlay of cash had to be worth it.

On top of that, I decided to buy a limited number of albums a month. I would allow one strong burst at the top to flesh out my collection, but after that, one or two albums a month, max. I don’t need to waste more space in my place. I figured that setting a foundation for a library and then building slowly would be a nice way to keep myself in check and only end up with things I enjoy.

After a couple weeks, I own Big Boi’s Sir Lucious Leftfoot, Blu’s Her Favorite Colo(u)r & Celln’Ls/ GurlFriend’ 7″ (free with HFC), Camp Lo’s Uptown Saturday Night, Chemical Bros’ Hanna, Curtis Mayfield’s Curtis, David Banner’s Certified, Ghostface’s Fishscale, Gorillaz’ Plastic Beach, Little Dragon’s Machine Dreams, Michael Jackson Off the Wall & Thriller, Outkast’s Aquemini, P$C’s 25 to Life, Richard Pryor Wanted, Tupac’s Makaveli, and Young Jeezy’s The Recession. A few of these I found used for cheap, a few were new, and more than a few were at rock-bottom clearance prices.

I’m pretty happy with what I’ve got, and I’m pleased with how this experiment is working out. I have to consider albums as their own thing now, which is a little different than queuing up a playlist. Fast-forwarding is a pain, and while selecting individual tracks is possible, it isn’t an exact science. Vinyl makes me look at albums as one whole, rather than a selection of songs and skits.

Skit placement makes more sense now. They tend to come at the top of a side of a record, rather than randomly throughout a set of mp3s. They feel like something that will ease you back into the music or serve as a reintroduction, rather than something somebody thought was funny once. Bonus tracks are gone now, too.

Vinyl requires active listening. I’ve got a few double LPs (and one triple), and you’ve got to be paying attention so that you can switch sides and play more songs. It’s more interactive than my iPod, which I find really interesting. I’m always aware that vinyl is spinning, rather than the fire and forget way I approach iTunes.

I wake up an hour early so that I can work out every morning. As it turns out, records are a nice way to keep time. I was listening to music anyway, but now I have one album to go through a day (or 75% of an album, depending). Switching sides or records provides a nice break between sets, and playing an album lets me accurately judge my time, too.

I don’t think I’ll ever be a vinyl nut. I prefer the digital format entirely too much. But, for certain specific situations? Vinyl is very cool. Another new way of thinking.

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Das Racist, Big Boi

September 2nd, 2010 Posted by david brothers

Das Racist’s “Who’s That? Brooown!” is a dope song, and this video manages to homage several 8-bit games I grew up on. Well done. Link courtesy of Ron Wimberly.

How to sum up Big Boi and Yelawolf’s “You Ain’t No DJ,” with Andre 3000 on production? Is it Yela’s “Yeah, I’m pale, but I’ll impale you with an Impala” or the bit about taking your couch and stealing your truck to move it with? The track suit girls? The kids dancing? Who cares! It’s dope, get your watch on.

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Big Boi – Sir Lucious Leftfoot, the Son of Chico Dusty

July 6th, 2010 Posted by david brothers

Half of the greatest rap group of all time drops his solo record today. I copped the deluxe edition, personally.

The intro track to Big Boi’s Sir Lucious Leftfoot is called “Feel Me (Intro)” and was produced by Malay. It sounds like Sleepy Brown singing, with a Roger Troutman accompaniment, but I might be wrong. It’s Antwan Patton’s resume. 15 years off in this game, still ain’t changed, feel me. It’s a command, not a request. This song is funky, with an Ennio Morricone whistle and laid back sound setting the stage for the album. There are no vocals from Big Boi until the very end, after the music drops out. “Damn,” he says. “And that wasn’t nothing but the intro!” Cocky or confident? Who cares, he’s right.

I’ve been looking forward to it forever, personally. OutKast always got broken up into the pimp and the poet, but that was never quite right. Big Boi was just as weird as Andre, but weird in a different way. SIr Lucious Leftfoot, as an album, is proof of that. He finally gets around to rhyming orange in a song, something I’ve been telling people he’d do since I was in high school. He flows over a variety of beats that have one thing in common: they all knock.

There’s a gang of guest appearances, but his album never feels crowded. George Clinton makes his second appearance on a Kast track, Yelawolf and Bobby Ray represent for the New New South, Andre 3000 produces one song (and would have had a spot on the album if Jive wasn’t run by idiots), Gucci Mane delivers a verse that doesn’t suck, and Big Rube makes a triumphant return to wax. Too $hort comes through for a guest appearance, and apparently he listened when GZA told rapper’s to make it half short and twice strong. His four bars are his whole style in miniature and still being dope.

You can easily draw a line from Speakerboxxx to Sir Lucious Leftfoot. The production doesn’t sound like your normal radio clips, and what samples there are are all over the place. There’s a lot of Dungeon Family-oriented production, too, whether from Mr DJ, Big Boi Andre, or the almighty Organized Noize itself. It’s a little more focused than Speakerboxxx, but when separated from Andre 3000, you can see where Big Boi is spreading his wings. He switches up his flow, whether via computer tricks or just good old fashioned spitting. There’s not necessarily a Rosa Parks or Hey Ya on this record, nothing that’ll put the radio on smash, but every song is bumpable.

I dunno if I can or should pick a favorite. “Turns Me On” is silky smooth, and I love Sleepy Brown. “Tangerine,” his joint with T.I. and Khujo Goodie is ill, too. “Fo Yo Sorrows” is nuts and includes a breakdown, something you don’t see often enough in rap these days. Big Boi’s verses on “Night Night” is crazy. Don’t even get me started on “Shine Blockas.”

I like this one. That’s really all there is to it.

You might wanna argue with me about best rap group of all time, but go ahead and listen to Southernplayalisticcadillacmuzik, ATLiens, Aquemini, Stankonia, Speakerboxxx/The Love Below, and watch Idlewild. We told you the South would rise again. You just didn’t realize it happened in 1995. DF!

Relevant videos:

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The Adventures of Bobby Ray

April 27th, 2010 Posted by david brothers

B.o.B./Bobby Ray is pretty great. I’ve been following his career since… 2008? He’s dropped a few mixtapes I really dug, had some 5-star guest appearances, and I basically told myself I’d buy his album after hearing his “Who The Fuck Is B.o.B.?” mixtape for the first time. His new album, B.o.B. Presents The Adventures of Bobby Ray is out, and I just copped it. Eight bucks on Amazon? Not even a question.

Bobby Ray is a child of the Dungeon Family, just like most of the better artists out of Georgia. Goodie MOb and OutKast are in his DNA, but not in a copycatting sort of way. There’s just a clear influence there, but he is clearly his own artist. He has the ability to put a deeply weird song next to some old school funk next to some skinny jeans rap next to something pimp tight and not have it clash.

(That’s another post-Dungeon thing. Andre 3000 has a rep for being the conscious poet, the weird half of OutKast, but he’s still the dude who spit “I got up in them hoes and I told ’em “Bye bye!”/ About two weeks later, she called me with some bullshit/ Talkin’ ’bout her period late… Guess what I did:/ *Click*.” It’s not cognitive dissonance so much as recognizing and embracing the fact that people go deeper than one word labels. It’s the same thing that puts Talib Kweli on a handful of songs with Pimp C. Put differently: “Is every nigga with dreads for the cause? Is every nigga with golds for the fall?”)

What I like about Bobby Ray is how he walks that fine line. He’s open about how he used to try to rap in a more radio-friendly style on “Generation Lost,” a track from The Adventures of B.o.B. He has talked about playing B.o.B. like its a role, and how he eventually had to learn to be comfortable being Bobby Ray and be okay with playing guitars or pianos on a track. He had to learn how to be him, and being him sometimes involves a song like “Grip Ur Body” or “Nigger” or “Haterz Everywhere.” There’s a spectrum of experience there.

It’s a lot there that I can personally relate to, is what I’m saying.

Him, Killer Mike, Pill, Jay Electronica, Yelawolf- they’re keeping southern rap interesting. I love Jeezy, but he doesn’t have the same range these cats do. Maybe it’s because they aren’t fully mainstreamed, I don’t know, but Yelawolf’s Trunk Muzik is crazy good, Pill spits fire on every verse, Jay ElecHanukkah is dope, if a bit MIA currently, and Bobby Ray and Killer Mike are the two finest heirs to OutKast’s legacy I can imagine.

Youtubes below. Listen to them, and if you dig it, pick up the record. “Nothin On You” is on the album, the rest are older tracks of varying ages. It’s black future music, baby.

(The “I’ll Be In the Sky” video vaguely suggests continuity between Bobby Ray and OutKast. Consider the video for “Elevators (Me & You)” from forever ago. You can even draw a line from the content of “I’ll Be In the Sky” to “Elevators.” Pay attention.)

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Yo! 4thletter! Raps! 01

March 26th, 2010 Posted by david brothers

Being a quick roundup, with commentary, of my favorite music videos of the week. A weekly feature, barring a week where no one with talent releases a music video worth watching. This first week is playing catchup a little, so you might’ve seen some of these before. Videos subject to go down for copyright violations, so browse wisely.

Big Boi – Fo Yo Sorrows feat. Too Short, George Clinton, SamChris
Let’s be honest: I grew up on OutKast, and they are definitely the greatest rap group of all time. Andre 3000 built a rep as the poet and Big Boi as the pimp, but over the past few years, Big Boi has shown that both halves of the duo are both skilled on the mic and eccentric on the beats. This video features Too $hort, who is way older than I expected but still the same old G on his four bars, and “Just to let you know that everything is straight/I say stank you very much ’cause we appreciate the hate/Now go get yourself a handgun, you fuckin wit a great/ Put it your mouth and squeeze it like your morning toothpaste.”

And, most importantly, it’s a music video with an extended break, something that probably hasn’t happened since the last time OutKast dropped.

Pac Div – Shut Up f. The Cool Kids
This beat is tremendous– it’s the kind of sparse speaker music that really knocks. Something to ride to with the volume all the way turned up. The way the beat spins down between verses… I’m a fan. “Don’t talk to me about fashion, dog, you be wildin/You still think Coogi stylin, who’s the stylist?”

Below the cut: Reflection Eternal, Joell Ortiz, Bobby Ray, and more Reflection Eternal.
Read the rest of this entry �

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text:
Action » Torture

You can't imagine the horrible and sadistic things that can happen with (mostly) stickfigures.

Torture The TrollfaceTorture The TrollfaceTorture a cartoon character, start off with just punching him with your fists. Score points to unlock new weapons like knives, guns and a...
The Torture Game 2.5The Torture Game 2.5Slightly improved version of the torture game with more weapons. In v2.5 you can click customize on the bottom to upload an image as face!
The Torture Game 2The Torture Game 2An extremely realistic ragdoll, tied up and ready to be killed. Amazing graphics and a lot of blood. Dont try this at home!
Die in StyleDie in StyleAnother torture room, old one but still good, choose the stickman's way of dying. Something might go wrong... enjoy!
Whack Your BossWhack Your BossFind all the se7en bloody ways to whack your boss when he's disturbing you at your desk, have fun! Updated: 17 ways to kill him now!
Stick Figure Penalty ...Stick Figure Penalty Chamber 2One Prisoner. One Peanlty. 15 Choices. Get the stick in the penalty chamber and choose what way he will die.
Happy WheelsHappy WheelsRagdoll chaos in this classic physics game! Complete the level by riding through to the finish or let your character die in a horrible way!
Stick Figure Penalty ...Stick Figure Penalty Chamber 1Since the second part is really popular. Here's the 1st one. Old but still good, decide what way the stickman should die.
Beat Me UpBeat Me UpA ragdoll game, graphics are really basic but in these kind of game it's the physics and amount of blood that count, they are great!
Interactive BuddyInteractive BuddyReal sadistic game! Torture your victim, earn money, and buy new powers, like: flamethrower, missiles, grenades and also some unusual stuff.
Torture Chamber 3Torture Chamber 3Use the different controls and finishing modes to kill the stickmen, not a lot of news in this version.
The Torture GameThe Torture GameA torture room like you have never seen before, 4 rooms to let the virtual guy bleed to death...
Tortur-O-MaticTortur-O-MaticPlay the interactive torture machine, guide a guy through a machine with painful traps. Hurt him as bad as possible before you reach the ...
Redlynx Trials Dynami...Redlynx Trials Dynamite TumbleAn explosive bike trials game with different modes/levels of playing, poor biker!
Whack Your ExWhack Your ExAfter your boss you know can whack your ex! Different so called weapons, choose male or female...
Stickfigure Smash 3Stickfigure Smash 3A simple ragdoll simulation with lots of different modes and challenges.
^ top


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朱亚昆陈氏老架一路在线播放天禧彩票地址"It's all squared, you see, as I squared it myself, sir. There an't a doubt that it was the other one with this one's dress on. The boy was exact respecting colours and everything. Mr. Snagsby, I promised you as a man that he should be sent away all right. Don't say it wasn't done!"视屏如果没有播放按钮请刷新网页

Colonel Pendleton received his look with the same critical, half- curious scrutiny that had accompanied his speech. At last his face changed slightly, a faint look of disappointment crossed his eyes, and a sardonic smile deepened the lines of his mouth.朱亚昆陈氏老架一路在线播放天禧彩票地址

朱亚昆陈氏老架一路在线播放天禧彩票地址I go on working while Katya sits silent not far from me on the sofa, wrapping herself in her shawl, as though she were cold. Either because I find her sympathetic or because I was used to her frequent visits when she was a little girl, her presence does not prevent me from concentrating my attention. From time to time I mechanically ask her some question; she gives very brief replies; or, to rest for a minute, I turn round and watch her as she looks dreamily at some medical journal or review. And at such moments I notice that her face has lost the old look of confiding trustfulness. Her expression now is cold, apathetic, and absent-minded, like that of passengers who had to wait too long for a train. She is dressed, as in old days, simply and beautifully, but carelessly; her dress and her hair show visible traces of the sofas and rocking-chairs in which she spends whole days at a stretch. And she has lost the curiosity she had in old days. She has ceased to ask me questions now, as though she had experienced everything in life and looked for nothing new from it.

It was only natural that I should not be quite accustomed to the loss of my darling yet. Three or four hours were not a long time after years. But my mind dwelt so much upon the uncongenial scene in which I had left her, and I pictured it as such an overshadowed stony-hearted one, and I so longed to be near her and taking some sort of care of her, that I determined to go back in the evening only to look up at her windows.朱亚昆陈氏老架一路在线播放天禧彩票地址

暗徒电视剧在线播放‘My dear friend,’ rejoined the other, resuming his accustomed manner with infinite readiness, and throwing himself upon the bench with a weary air, ‘you told me not very long ago, at that delightful old taver...

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推油 在线播放 撸About many of these houses hung a mysterious taint as of something weakly and commonly and dustily evil; the women who negotiated the rooms looked out through a friendly manner as though it was a mask, with h...
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Mission La Purisima

Mission La Purisima and Spanish colonial culture.
Mission La Purisima

Mission La Purisima is not on the historic route though a place to interpret the Anza expedition. The eleventh Spanish mission founded, December 8, 1787 is an excellent park and place to interpret Spanish mission culture in California. Mission La Purisima is half way between the missions founded in Santa Barbara and San Luis Obispo.. Earthquakes have leveled the historic structure and initial restoration began in 1935 by the Civilian Conservation Corps (CCC) and closely approximated that of the indigenous craftsmen 120 years previous.

Image Source: US National Park Service

Image Credit: Courtesy of US National Park Service. Meredith Kaplan, Superintendent of Anza National Historic Trail.

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• Abou Shakra
  • Abou Shakra
  • Abou Shakra
About Abou Shakra

In the year 1947, a prominent name in the world of restaurants was born. In no time, he became the talk of the town; a restaurant on the bank of the Nile in Downtown Cairo which was known as The Castle of the Nile for it was located right next to the beautiful Nile River. This area has been renowned for being one of the most elegant and classy areas in Egypt due to its proximity to some of the world’s most famous hotels. An Oriental restaurant started serving a variety of oriental grills with a specialization in the Egyptian cuisine. Arabs and foreigners used to come all the time until the restaurant’s name started to expand and popularize until it became one of Egypt’s landmarks.

It became one of Egypt’s landmarks just like the Nile, the Tower, and even the Giza Pyramids. It was the first restaurant to introduce the idea of tent celebrations and Oriental Nights for foreigners. These beautiful evenings were spent by the Pyramids and in the boats of the Nile. Inspired by the presence of Arabs, foreigners, and tourists in the area of Cairo’s Downtown, Garden City, and hotels by the Nile, Abou Shakra was the first to introduce the concept of home delivery by the motorbike through which Egyptian employees delivered the food wearing Abou Shakra’s official uniform. All these elements contributed to the restaurant being one of Egypt’s most important landmarks visited by presidents, ambassadors, scientists, and artists from all around the world.

Abou Shakra became famous most for quality. The restaurant only uses the highest quality of meat with standards that cannot be compromised under any circumstances. The calf is fed only high quality food and given the proper care in terms of weather and location. When it comes to the cuisine, the same level of standards is not compromised starting from the fresh spices that add a special flavor, aroma, and taste to the food till the high quality coal that the food is grilled on. The coal is extracted from specific trees like fruit trees that add a delicious scent to the food that has been significant for the main branch of Abou Shakra (El-Qasr El-Einy) for over 40 years.

In 1985, with the new generation and ideologies, Abou Shakra’s touristic restaurants transformed in order to keep up with the rapid openness the society has witnessed. In 1989, the second branch has been opened, a Five Star Restaurant that quickly became prominent for its luxurious and strategic location in Gameat El Dowal Street in El-Mohandeseen area. The restaurant was the first to introduce the concept of Franchising to the Egyptian market and the Arab World in collaboration with a Saudi Arabian company (Abou Shakra Saudi Arabia).

Since that collaboration and the introduction of franchising, Abou Shakra’s international name became (The Eastern Abou Shakra). After the success of the first franchising, another branch was open in Dumiat in 2016.

The restaurant openings, then, proceed with Heliopolis branch in 1994 which overlooks El-Orouba Street in one of the best locations in Cairo. Next, El-Shams club branch came in 1996 to engage with the youth followed by El-Maadi branch in 2004. Another spacious and unique branch opened in Alexandria, the beauty of the Mediterranean in 2003. Moreover, another branch opened in one of Cairo’s most luxurious locations by the Nile bank; located next to the Four Seasons followed by a new branch in 2006 located in New Cairo.

Not long after, the North Coast witnessed its first Abou Shakra near gate four in 2006. In 2017, El-Sheikh Zayed City in 6th of October witnessed a luxurious and elegant branch that catered to the people living there.

We can also never forget the most prominent branch located in front of the pyramids embraced by history and the beauty of the sound and light which opened in 2014 and is truly considered one of the most important landmarks that welcomes foreigners, tourists, and Arabs from all over the world.

From one generation to another, the restaurant changed into a big, well-known chain until it became a company working in the field of hotels, restaurants, and companies management in 1998 while in 2009, it has evolved into a touristic group with the name of the Seven Company for touristic projects overlooking projects like (Abou Shakra, Fish and Fisher, Shakra-to-go, Farak).

In 2000, the catering sector has evolved and became renowned for its high quality, excellent service, and delicious food. Not only that, but it also expanded to include international conferences, company and university events and it became a key competitor in the field of catering as it shone through with the distinction of its name, exceptional quality, and wonderful service.

Since that day on, the management board overlooked the process of expansion and renovation of the company. This renovation has attracted world talents and experts with professional experience in management as well as cooking. These experts and their experience contributed greatly to expanding the company and ensuring its development in regards to quality, trainings, human resources, and marketing to keep up with the international standards.

This growth and expansion created a need for food production hence, the company expanded in that field to cater for the needs of the restaurants. The food production process included different processes like cutting, seasoning, packing, and packaging. Every step was taken care of in order for the material to be perfectly summoned and ready for cooking without any sort of intervention from the employees.

The future looks very bright for Abou Shakra; the plan for 2018 includes an expansion by franchising to the Gulf Countries as well as Europe.

The company is also planning to enter the field of food production for super markets, restaurants, and hotels with its new factory in Egypt by 2020. In addition to that, the plan also includes opening a Human Resources company to cater for the needs of the field of employment in the tourism sector.

Abou Shakra, the original taste to the Egyptian cuisine.


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Code 2 Depending on which device is failing, you may see either of two different messages. Microsoft has really given up on gameports starting with Win2K. WinXP still doesn’t acknowledge that I have a gameport, even with the “Creative Gameport” device installed. Sat Nov 16, 9: This driver has proven to be quite difficult to find. Matthew Tested on Windows 98SE.

Uploader: Tygok
Date Added: 26 March 2011
File Size: 56.78 Mb
Operating Systems: Windows NT/2000/XP/2003/2003/7/8/10 MacOS 10/X
Downloads: 26660
Price: Free* [*Free Regsitration Required]

Gameport Problems in WinXP

Wed Dec 04, I have a SB Live 5. Thu Nov 14, 3: Wed Nov 20, 8: Right click on the sound card device and left click on update driver. Double-click the Sound, video and game controllers option. Ars Tribunus Xreative et Subscriptor.

I had the same problem a few days ago with my old Gravis Gamepad. To reinstall the driver, do the following: Now, it seems that my gameport drivers are invalid or missing and this “Creative Multimedia Interface” is sitting under “Creative Miscellaneous Devices” when I go into Device Manager. Creative Sound Blaster Live 5. Mine was with a Microsoft Sidewinder.

This check box must be selected to avoid reinstallation issues. USB controllers work better anyway. Tech Support Guy is completely free — paid for by advertisers and donations. It would load, I’d burn of some energy in Descent, shutdown and the next time I’d boot Slund was back to square one.

Many have discovered that the drivers offered on the Creative Labs U.

Creative Worldwide Support >

Click the OK button. Click here to join today!

Jul 21, Posts: Sorry to say I had the same problem. Aug 13, Posts: It was detected as a digital joystick, and all the buttons and axes worked fine.

For a complete listing of downloads, you can manually search our database.

If that doesn’t work, I might get a USB joystick. Other than that, Thanks and keep it up! Copyright – Creative Technology Ltd.

[SOLVED] SB Live! Gameport Doesn’t Work | Tech Support Guy

Code 2 To fix this, click Update Driver to update the device driver. Has anyone had this trouble before? I tried reinstalling the card, and using both the MS and Creative drivers, but no luck. Nobody wants to say it, but you probably need to get a sound card which doesn’t suck. Code 2 Depending on which device is failing, you may lice either of two different messages.

I took out my Microsoft Sidewinder 3D Precision Pro to play some Mech 4 Mercenaries, and the gameport is detected alright, but game controllers panel says that the joystick is not connected, when it is. The drivers get installed all right, and they say the device is working properly, but the gaming options in the Control Panel can’t detect my gamepad and claims that it is not connected.

Jan 27, Messages: Yes, my password is:


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If you organized programming languages into tiers based on their popularity, they would fall into three tiers. The top tier would include the mainstream languages such as Java, JavaScript, Python, Ruby, PHP, C#, C++, and Objective-C. While some top tier languages may be fading, you’d better know one or more of these languages if you want to easily find a job.

From medium.com

Second-tier languages are waiting to break into the mainstream but haven’t quite made it. They have proven their worth by building strong communities of support, but they still aren’t used by a large number of more conservative software companies. Scala, Go, Swift, Clojure, and Haskell are languages I would put in the second tier. Some companies use these languages in a few services, but wide industry use is rare (except for Swift, which is starting to overtake Objective-C as the primary iOS language). Go and Swift both have a good chance of moving from the second tier to the first over the next two to three years.

Most of the languages in the top tier are firmly entrenched. It takes a while for a programming language to fall out of the top tier, and it’s very hard for a second-tier language to break into the top tier.

The emerging languages of this article are in a third tier, and they are just starting to gain a following. Some languages have been in the third tier for many years, never taking that next step toward popularity, while others have burst onto the scene in just one or two years. Here are five languages that fall into the latter category within the third tier.

Emerging languages: Why these five?

The five programming languages that I’ll focus on are fairly new (so this might be the first time you hear about them in detail), and they clearly have a strong chance of breaking into the group of second-tier languages in the next two to three years. Maybe someday one of these languages will even be able to crack the top tier.

Here’s why these five languages were chosen for this list.

Elm is becoming popular within the JavaScript community, primarily among those who prefer functional programming, which is on the rise. Like Babel, TypeScript, and Dart, Elm transpiles to JavaScript.

From softwareengineeringdaily.com

Rust is a systems programming language meant to replace a lot of C and C++ development—which is why it’s surprising to see this language’s popularity growing the fastest among web developers. It makes a little more sense when you find out that the language was created at Mozilla, who is looking to give web developers that are forced to write low-level code a better option that’s more performant than PHP, Ruby, Python, or JavaScript. Rust was also crowned the “most loved” technology in StackOverflow’s 2016 developer survey (meaning it had the most users who wanted to keep using it).

From zuaneducation.com

Kotlin has been around for about five years, but it finally reached the production-ready version 1.0 this year. Although it hasn’t achieved the popularity of Scala, Groovy, or Clojure—the three most popular and mature (non-Java) JVM langauges—it has separated itself from the myriad other JVM languages and seems poised to take its place among the leaders of this group. It originated at JetBrains—makers of the popular IntelliJ IDEA IDE. So you know it was crafted with developer productivity in mind. Another major reason Kotlin has a bright future—you can easily build Android apps with it.

From kotlinang.org

Crystal is another language that hopes to bring C-like performance into the highly abstracted world of web developers. Crystal is aimed at the Ruby community, with a syntax that is similar to and, at times, identical to Ruby’s. As the already large number of Ruby-based startups continues to grow, Crystal could play a key role in helping take those applications’ performance to the next level.

From Wikipedia

Elixir also takes a lot of inspiration from the Ruby ecosystem, but instead of trying to bring C-like benefits, it’s focused on creating high-availability, low-latency systems—something Rails has had trouble with, according to critics. Elixir achieves these performance boosts by running on the Erlang VM, which has a strong performance reputation built over its 25 years in the telecom industry. The Phoenix application framework for Elixir—more than any piece of this blooming ecosystem—has given this language legs.

From Udemy.com

Now, take a quick peek at four of these five languages making their way up the popularity ladder, according to StackOverflow and GitHub data:

Source: Github (redmonk)

Each of these languages already has an enthusiastic community and its own weekly newsletter (That’s when you know you’ve made it!). If you’re thinking of learning a younger language with exciting possibilities for the future, then you can go ahead with these. I hope this article will make everyone clear about these rapid growing languages.


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Team Sage Blog

How to Turn Your Customers Into Your Sales Team in 3 Easy Steps

Customer referrals are gold when it comes to building your business. Your customers know your products/services, your company, and your people. Any small business expert will tell you that if a customer thinks well enough of your business to refer you to a friend or family member, you have received the best sales referral possible.

The good news is that you can actually turn your customers into your best sales team.

How Do You Do It?

Building your customer sales team can be done in three easy steps:

  1. Build a relationship with each of your customers.
    People want to buy from people, not some faceless, nameless automaton. Even if you do most of your business online, you need to make sure that every communication you have with your customers is personal and focused on their needs. Offer clear communications. Enhance your customer service. Be flexible. Make them feel important. Maybe even have them be part of the family.
  2. Continue to innovate.
    You need to offer your customers the products and services that address their particular pain points. Even if you have a solution, continue innovating and finding new solutions. Look for new pain points to address. By offering more solutions and better products/services, you will gain your customer’s continued patronage and strengthen the relationship you have developed.
  3. Wow them.
    You need to have the mindset that you and your team will do whatever it takes to get the job done. That is key to move from satisfying your customers to wowing them. Wowing your customers means having them go “Wow, no one has ever done THAT before!” Offer your customers solutions, even if it means referring them to a competitor. You cannot be everything to everyone. But, you can be the company that wants to help the customer at all costs.Add personality to every interaction that your customer has with you. You are talking to a person, use his or her name. Treat every customer the same, no matter if they are your smallest or your largest.

This is not something that is going to happen in a day or even a week. It will take time to build the relationships and put things in place to make your customers want to join your sales team. But, it is time well spent.

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Publication Title:
Planta Medica

Phytochemical investigations of Terminalia arjuna bark and Terminalia chebula fruits resulted in the isolation of twelve triterpenoids including two new oleanane type triterpene glucosyl esters, ajunglucosides IV (1) and V (2), from the N-BuOH layer of the MeOH extract of T. arjuna bark as well as nine oleanane-type triterpenoids from the MeOH extract of the fruits of T. chebula.

Wang, Wei
Ali, Zulfiqar
Li, Xing-Cong
Shen, Yunheng
Khan, Ikhlas A.
Publication Title:
BMC complementary and alternative medicine

BACKGROUND: Acinetobacter baumannii is well-recognized as an important nosocomial pathogen, however, due to their intrinsic resistance to several antibiotics, treatment options are limited. Synergistic effects between antibiotics and medicinal plants, particularly their active components, have intensively been studied as alternative approaches. METHODS: Fifty-one ethanol extracts obtained from 44 different selected medicinal plant species were tested for resistance modifying agents (RMAs) of novobiocin against A. baumannii using growth inhibition assay.

Phatthalung, Pinanong Na
Chusri, Sasitorn
Voravuthikunchai, Supayang P.
Publication Title:
Planta Medica

Terminalia species are a rich source of tannins. Many preparations of these species are used in traditional medicine and have many different ethnobotanical applications. A simple UHPLC method was developed for the simultaneous analysis of such hydrolysable tannins and triterpene saponins from the fruit rinds of different species of Terminalia (T. chebula, T. arjuna, T. bellirica) and Phyllantus emblica. A separation by LC was achieved using a reversed-phase column and a water/acetonitrile mobile phase, both containing formic acid, using a gradient system and a temperature of 40°C.

Avula, Bharathi
Wang, Yan-Hong
Wang, Mei
Shen, Yun-Heng
Khan, Ikhlas A.
Publication Title:
Chemistry & Biodiversity

Nine phenolic compounds, including two phenolic carboxylic acids, 1 and 2, seven hydrolyzable tannins, 3-9, eight triterpenoids, including four oleanane-type triterpene acids, 10-13, and four of their glucosides, 14-17, isolated from a MeOH extract of the gall of Terminalia chebula Retz.

Manosroi, Aranya
Jantrawut, Pensak
Ogihara, Eri
Yamamoto, Ayako
Fukatsu, Makoto
Yasukawa, Ken
Tokuda, Harukuni
Suzuki, Nobutaka
Manosroi, Jiradej
Akihisa, Toshihiro
Publication Title:
Journal of Asian Natural Products Research

Two new triterpenoids, termichebuloside A (1), an unusual dimeric triterpenoid saponin, and termichebulolide (2), an oleanolic acid-type lactone, along with 11 known triterpenoids, were isolated from MeOH extract of the barks of Terminalia chebula. The structures of 1 and 2 were elucidated to be arjunglucoside I-(3-O-19',23-O-19')-18,19-seco-19-hydroxyarjunglucoside I (1) and 2?,3?,23-trihydroxyolean-11,13(18)-dien-28,19?-olide (2), respectively, on the basis of spectroscopic evidences and biogenetic consideration.

Zhang, Chao
Jiang, Kun
Qu, Shi-Jin
Zhai, Yi-Ming
Tan, Jun-Jie
Tan, Chang-Heng
Publication Title:
Bioorganic & Medicinal Chemistry Letters

Three new polyhydroxytriterpenoid derivatives, 23-O-neochebuloylarjungenin 28-O-?-d-glycopyranosyl ester (1), 23-O-4'-epi-neochebuloylarjungenin (2), and 23-O-galloylpinfaenoic acid 28-O-?-d-glucopyranosyl ester (17) were isolated from the fruits of Terminalia chebula Retz. along with fourteen known ones. Their structures were elucidated by 1D and 2D NMR spectroscopic data and acid hydrolysis.

Lee, Dong Young
Yang, Heejung
Kim, Hyun Woo
Sung, Sang Hyun
Publication Title:
Biological & Pharmaceutical Bulletin

Candida albicans is one of the most prevalent human opportunistic pathogens. C. albicans undergoes a yeast-to-hyphal transition that has been identified as a virulence factor as well as a critical element for mature biofilm formation. A previous study in our lab showed retigeric acid B (RAB), a lichen derived pentacyclic triterpenoid, displayed synergistic antifungal activity with azoles. We now showed that this combination also proved to be adequate in combating the formation of hyphae in vitro.

Chang, Wenqiang
Li, Ying
Zhang, Li
Cheng, Aixia
Liu, Yongqing
Lou, Hongxiang
Publication Title:
Annals of the New York Academy of Sciences

Dietary caloric restriction (CR) is the only intervention conclusively and reproducibly shown to slow aging and maintain health and vitality in mammals. Although this paradigm has been known for over 60 years, its precise biological mechanisms and applicability to humans remain unknown. We began addressing the latter question in 1987 with the first controlled study of CR in primates (rhesus and squirrel monkeys, which are evolutionarily much closer to humans than the rodents most frequently employed in CR studies).

Roth, G. S.
Ingram, D. K.
Lane, M. A.
Publication Title:
Planta Medica

The Mexican species GALPHIMIA GLAUCA (Cav.) Kuntze (Malphigiaceae) synthesises a family of sedative and anxiolytic nor-secofriedelanes, designated as galphimines. These active principles accumulate at low concentration in the aerial parts of plants from wild populations. Transformed calluses and cell suspension cultures of this species were established in order to induce a greater production of nor-friedelanes. The cell suspension line GgBa was selected and grown over a period of two years of continuous subculturing in MS nutrient medium in the absence of growth regulators.

Ortíz, Anabel
Cardoso-Taketa, Alexandre
Monroy, Mario Rodríguez
Arellano, Jesús
Hernández, Georgina
Villarreal, María Luisa
Publication Title:

Traditional medicines provide fertile ground for modern drug development, but first they must pass along a pathway of discovery, isolation, and mechanistic studies before eventual deployment in the clinic. Here, we highlight the challenges along this route, focusing on the compounds artemisinin, triptolide, celastrol, capsaicin, and curcumin.

Corson, Timothy W.
Crews, Craig M.

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    Check Out The Fabulous Properties On Algarve4me
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    To get the best rates.
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    Find Your Dream Home On Algarve4me

Algarve4me, the Algarve's leader in owner direct Holiday Rentals Travel to Portugal for your holiday. Locate your apartment and villa rental accommodation here.

Listing Search

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Palmyra Club

Golden Triangle properties

4 bedroom villa "Os Patios" Portugal, Algarve, Vilamoura

a4m: 1168

Property Description:

a brief description of the villa:

Villa Os Patios is a unique 4 bedroom property, situated in a very quiet sought after area of Vilamoura (South Portugal), within short distance of the famous Old Course and 3 minute drive to the lively Marina and breathtaking beaches. This beautifully furnished and modern contemporary style villa is surrounded by a large and beautiful gardens with tall pine trees and private swimming pool.

Property Type:

Algarve villa rental accommodation.

Vilamoura, Algarve, Portugal.

  • fridge,
  • fridge/freezer,
  • freezer,
  • oven,
  • hob,
  • microwave,
  • dishwasher
  • kettle,
  • coffee maker,
  • toaster,
  • deep fat fryer
  • grill,

  • washing machine,
  • tumble dryer,
  • iron,
  • ironing board,
  • vacuum cleaner,
  • ceiling fan

seating for

seating for

bedroom 1 is ensuite and has twin beds
bedroom 2 is ensuite and has twin beds
bedroom 3 is ensuite and has twin beds
bedroom 4 is ensuite and has twin beds

bathroom 1 has a bath with a shower, a wc, a bidet, a shaver socket,
bathroom 2 has a bath with a shower, a wc, a bidet, a shaver socket,
bathroom 3 has a shower cubicle, a wc, a bidet, a shaver socket,
bathroom 4 has a shower cubicle, a wc, a bidet, a shaver socket,

tv, satellite tv, radio,

heated pool, barbeque, roof terrace,  garden furniture, sun loungers,

children welcome, pets are allowed, car use is recommended, wheelchair access, smoking is not allowed

Local Activities:

swimming, tennis, walking, wind surfing, sailing, cycling, horse riding, golf, mountain biking, water park,

nearest Golf Course: Vilamoura Old Course
nearest Beach: 2km to 2.5km
nearest Marina: 2km to 2.5km
nearest Golf Course: 0.5km to 1km

nearest Supermarket: 0.5km
nearest Waterpark: 4km to 4.5km
nearest Zoo: 30km to 35km
distance to Faro airport: 20km to 25km

Further Information:

more helpful information:
  • bed linen provided, changed once per week
  • bath towels provided, changed once per week
  • The Changeover day is: Any Day
  • The Check in time is after: 12.00
  • The Check out time is before: 12.00
  • The Minimum stay is: 7 nights
  • Villa Os Patios has in total 4 twin rooms that can be converted into doubles. All rooms are extremely spacious, comfortable and have en-suite shower (or bath) and toilet, fitted wardrobes and satellite Plasma TVs.

    The property has two large terraces, one by the pool, where guest can sit down and enjoy the nature while reading books or day dreaming and the other on the roof top facing amazing fairway views.

    The open wide kitchen is fully equipped with microwave, dishwasher, washing machine & tumble drier in laundry room, fridge/freezer. The living room has a nice relaxing setting which incorporates a dining area with sofas, ample comfortable seating, open fireplace, satellite TV, DVD player, Hi-fi stereo system, dining table and patio doors to private barbeque area.

how to find the property:

Head west0.1 km2.Turn left toward N125-100.7 km3.At the roundabout, take the 2nd exit onto N125-102.9 km4.Slight right onto the ramp to Portimão/Loulé/Lisboa0.6 km5.Merge onto IC42.5 km6.Slight right at Estr. IC4/IC41.4 km7.Take the ramp to Faro/Almancil0.6 km8.Slight left at Estr. EN125/N125/R125 Continue to follow R125Go through 2 roundabouts13.7 km9.Turn left at Av. Vilamoura XXI50 m10.Turn left to stay on Av. Vilamoura XXI Go through 1 roundabout1.3 km11.At the roundabout, take the 3rd exit onto Caminho dos Golfes0.4 km12.At the roundabout, take the 1st exit onto Av. do Parque0.9 km. Volta do Pato Loulé 8125, Portugal

Contact Details:

For more information and to book:-
Contact: Miguel Borgrs
Please quote reference: a4m: 1168 villa "Os Patios"
Languages spoken: Portuguese, English, French
Telephone: 913780426
Methods of Payment Accepted: Bank Transfer,

Algarve car rental

You may visit many owners direct holiday rental websites before you find a suitable property and then make a reservation. It is not common practice for websites to visit each property listing and actually meet the property owner. Even if we did physically view the property, we could not guarantee that the property that we viewed or the owner that we met were the actual property or owner. What is being offered to you in your correspondence with the property owner may be different. Why? Because you contact the owner directly and we do not have access to what was said, when and how many emails you send because you send them privately, not through our website. Be careful.

With most items that are advertised, even rentals which are offered through newspaper classified advertisements, it is up to the buyer to be aware.

What Can You do?
  • Insist on the address of the rental.
  • Do a search on the internet for the property.
  • If you know someone in the area, ask them to view the property.
  • Ask the owner if the property can be viewed before payment is made. If they refuse, move on to someone else.
  • Ask for phone number references from other renters, then call them.
  • If an owner asks you to transfer money to a bank account, do not do it unless you are absolutely sure that this is the person that owns the property.
  • If an owner asks you to wire them money for any reason, do not do it.
  • If the person tells you that they are working for the owner and you should send your payment direct to the owner under a different name from the person you are speaking to, do not do it.
  • If you have any doubts at all about a property on our website, let us know that you think that it is a scam and we will check it out.

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Welcome, we are proud to be able to offer you a fantastic selection of algarve apartment and villa rental properties for your perfect holiday vacation in Portugal. If you have never visited the Algarve before, please visit now. You won't be disappointed! With cheap daily flights to Faro, there has never been a better time to travel. With an average of over 3000 hours of sunshine a year, over 100 miles of beautiful sandy beaches, friendly local people, good food and a relaxing atmosphere should make your stay a pleasant one. Our wide choice of accommodation, real estate, holiday rentals and travel accessories can be quickly accessed from every page. "The Algarve"! Recommended in 2005 by the UK TV Channel 4 programme "A Place In The Sun" as their number 1 destination in Europe to invest in property.

What Our Visitor's Say

  • We used Algarve4me to search for a holiday rental and found a fantastic 3 bedroom villa to rent near Lagos. Thank you.

    Familia AmilSpain

  • La casa muy buena, muy tranquila para relajarse y con todas las comodidades, por poner algo negativo que esta un poco lejos de todo, hay que coger coche.

    A TravellerSpain


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Nina Bovasso – Works on Paper + Heidi Anderson, Ellen Berkenblit, Lucile Desamory, Esther Planas, Léopoldine Roux
11/02/2005 - 09/04/2005

Nina Bovasso: My work derives from 60s patternings, psychic blips, and urban cacophony, particularly the multi-leveled, chaotic structures of new architecture. I use flattened space to homogenize the multiple ways visual information is perceived. Different realities, i.e., direct experience, fantasies, dreams, fashion, and digital imagery become one reality, surface as phenomena. Organically evolved and defined by their own gestalt, my works are flat-footed and graphic, with an obviousness to the hand made. Mirroring the overwhelming speed at which information is received they deliver a big bang like explosion or densely packed gravity bound mound.
Precariously built architectural structures reminiscent of scaffold confuse the notion of the ephemeral within the solid. Color, pattern and the detritus of memory are combined into an organized chaos whose tactile references range from thick mud to cold steel to effervescent bubbles. Flowers of optimism drawn in a rudimentary manner are scattered about or packed into building blocks. A sense of unrest is generated in the many subtle nuances of surface. The tension of a line created using a croquill, harnessing a cluster of loosely painted dots offers a conflict of visual time. The very grand and the banal relegate influence, seeking to achieve a harmony between binaries.
The abstract becomes real, without divide between form and content. Color (and perhaps sentiment) is inspired from mid-century Technicolor films. Textiles and decorative arts objects and forms; Folk art; the digital, design and contemporary art dialogue; limited understandings of science and atomic theory; art made in reverence for reverence throughout time, East and West; sexuality and Punk, attitudes, energy and movement… beckon the question of a common denominator. And faith.
Can extending one's attention span on a doodle undermine the derogatory connotation and give artistic merit, thus elaboration turns attenuated gesture heroic, elevating for the abject ambitions towards a sublime?


text:
Table Talks

Table Talks is where christians from all walks of life come together for conversation over coffee / tea using the current Muslim issues as a starting point for discussion. Reservation are required and seating is extremely limited. Each table talk event features a different facilitator and a different theme.

Witnessing to Muslims - Throughout history, Christians have used many different approaches to spread the Gospel. How do I choose?

Starts On:
March 28, 2020
6:00 PM
Ends On:
March 28, 2020
8:00 PM