#Sons of Champlin

[affiches-concerts]

Sons of Champlin, 1967.

[hammondcast]

Party Barge Jon Hammond Trio With 2 Sons Of Champlin

#WATCHMOVIE HERE: Party Barge Jon Hammond Trio With 2 Sons Of Champlin 

Jon's archive https://archive.org/details/party-barge-jon-hammond-trio-with-2-sons-of-champlin 

Youtube https://youtu.be/GinM_PQOknQ 

FB https://www.facebook.com/558692101/videos/519052113740586/ 

Instagram Reel https://www.instagram.com/p/CpapZcRMzHm/ 

#Instagram 

#reel 

Publication date

 2023-03-05

Usage

 Attribution-NonCommercial-NoDerivs 4.0 International

Topics

 Blast from the Past, gig on a boat, Lake Berryessa, Sons of Champlin, Terry Haggerty, James Preston, Jon Hammond, Hammond Organ, Party Barge, Funky Jazz

Language

 English

Blast from Past Party Barge Jon Hammond Trio with 2 Sons of Champlin James Preston drums, Terry Haggerty guitar, Jon Hammond XB-2 Hammond organ #blastfromthepast #sonsofchamplin #lakeberryessa #gigonaboat #partybarge

Addeddate

 2023-03-05 17:49:44

Identifier

 party-barge-jon-hammond-trio-with-2-sons-of-champlin 

 Blast from the Past, gig on a boat, Lake Berryessa, Sons of Champlin, Terry Haggerty, James Preston, Jon Hammond, Hammond Organ, Party Barge, Funky Jazz 

Blast from the Past, gig on a boat, Lake Berryessa, Sons of Champlin, Terry Haggerty, James Preston, Jon Hammond, Hammond Organ, Party Barge, Funky Jazz

[highhorsemag]

Nothing For Me, Please

Dean Johnson’s debut album is a triumph of modest mastery and restraint. To say Nothing For Me, Please is an intimate record would be an understatement. To say it is a cathartic listening experience would not quite be the justice it deserves. It is a sublime record that deals with the depths of human folly, complicated and unrequited love, time- too much or not enough of it. It is one for the…

[garland-on-thy-brow]

Julia/Agrippina/Clytemnestra/Octavia

Linking the post by @en-theos that talks about Clytemnestra's convoluted/quasi-incestuous family relationships in Aeschylus' Agamemnon. Excerpt: "agamemnon's actual wife is waiting for them in the traditional place of the mother of the groom, making her the mother-in-law of cassandra, who also bears a strong comparison to iphigeneia, clytaemnestra's actual daughter".

I am linking it because I think it is interesting to talk in this context about the ghost of Julia in the Pharsalia.

Quoting Jane Wilson Joyce's translation of Pharsalia III.20-27:

"When I was your wife, Magnus, you led joyful Triumphs: your fortunes have changed with your bedfellow! Condemned by Fate always to drag her powerful husbands down to disaster, your whore Cornelia wed you while my ashes were warm. She can stick close to your standards in war or at sea, so long as I have the right to break in on your not- untroubled dreams and to leave you no time for lovemaking - no! let Caesar lay claim to your days and Julia your nights!

(1) Julia is Pompey's wife, but most of all she embodies the dynasty established by Pompey's father-in-law, and positions herself as a direct parallel to that father-in-law ("let Caesar claim your days and Julia your nights"). Cf. Angeline Chiu, The Importance of Being Julia: Civil War, Historical Revision and the Mutable Past in Lucan's Pharsalia.

(2) Notably, Pompey, by the time of civil war, practically monopolized Agamemnon as part of his "public image". Cf. Edward Champlin, Agamemnon at Rome: Roman Dynasts and Greek Heroes.

(3) Consider also the age difference between Pompey and Cornelia: "the marriage was displeasing to some on account of the disparity in years; for Cornelia's youth made her a fitter match for a son of Pompey" (Plutarch Pompey 55, via LacusCurtius.)

(4) "a nightmare image / appeared - a ghastly head upreared through gaping earth, / and Julia stood, Fury-like, on her blazing pyre" (Pharsalia III.9-11, trans. Wilson Joyce). The vengeful ghost of a Julian lady associated with the Furies of course brings to mind the ghost of Agrippina tormenting Nero: Agrippina was, according to Nero, Clytemnestra to his Orestes - the terms Nero himself established and cultivated. Cf. again Champin's Agamemnon at Rome, from p. 308 onwards.

(5) The ghost of Julia calls Cornelia Pompey's paelex: mistress, or in the precise meaning - a mistress of a married man, a rival to his wife (cf. Susan Treggiari, Concubinae p. 77). Thus she is denying legitimacy to this new marriage. The word paelex was also applied pejoratively to Poppaea Sabina: she is called superba paelex ("proud mistress") in the almost-contemporary pseudo-Senecan tragedy Octavia. The ghost of Julia speaks of Cornelia the way the ghost of another tragic Julio-Claudian ex-wife, Claudia Octavia, could have spoken of Poppaea.

[yatescountyhistorycenter]

The place to go for a bite to eat, for nearly a century

By Jonathan Monfiletto

Representing a local history museum, this blog doesn’t concern itself much with current events. However, right now – literally, in this moment, just two days after the Penn Yan Diner sustained “substantial damage,” in the words of Yates County’s director of emergency services, in the middle of the night – seems to be an appropriate time to be concerned with current events in light of local history.

In the back of my mind, I have had the idea to research the history of the Diner ever since I heard someone describe it as, essentially, the longest continuously-operating restaurant in Penn Yan. Not knowing anything about the Diner – other than that it has really good burgers – I wasn’t sure if that was true; it turns out it likely is true, and the Diner is on track to celebrate its centennial being located in the village. Since 1925, the Diner has been situated on a previously vacant lot next to the Masonic Temple, on south side of East Elm Street between Basin Street and Champlin Avenue.

While the future of the Diner remains uncertain, should the Diner be able to re-open and continue operating, it would mark its 100th anniversary as a community institution next May, shortly before it marks one year since the devastating fire. According to the Penn Yan Democrat of April 10, 1925, Byron and Lena Legters rented the vacant lot east of the Masonic Temple and planned to install a Galion dining car. The diner was “to be placed on a concrete platform so the entrance will be at the street level,” and a concrete block kitchen was to be built below the diner. On May 8, the Democrat reported the Legters, of the Buffalo area, had opened what they called the Penn Yan Dining Car.

The original diner measured 30 feet by 10 feet, 6 inches and could accommodate 15 people; the kitchen underneath measured 10 feet by 16 feet. According to a November 1993 article by Herbert A. Wisbey Jr. in The Crooked Lake Review, this made the diner longer and wider than the typical diner – short for dining car, a stationary building modeled after a railroad car – but it retained the usual trolley-like shape. This included the long counter with stools in the front and the food prepared and served from behind the counter. The Galion Dining Car Company, of Galion, Ohio, built the Penn Yan Dining Car as one of at least 66 manufacturers of such dining cars in the country. However, Wisbey refers to the company as “evidently a short-lived company about which little is known.”

Earl Richardson and company, of Silver Creek, installed the dining car on the site and also built the original kitchen. Richard was the first diner installer in western New York and contributed to the diner building boom of the middle to late 1920s, with at least eight companies formed over the next decade. According to a history of the Diner, people lined East Elm Street in 1925 to watch the dining car travel the trolley tracks and be craned into place.

The Legter family had come from Silver Creek as well, and they apparently returned there just a year after opening the Diner and handed the Diner off to Carroll P. Bond. Bond called the eatery the Bond Dining Car, but after encountering financial difficulties he sold it to a Mrs. Williamson – whose son Douglas King managed it – in 1933. Perhaps connected to the financial issues, under Bond’s tutelage, the Diner suffered a fire in the kitchen that caused $1,000 worth of damage. Next, Odell Jones purchased the Diner in 1938 and during his tenure built a kitchen and dining addition onto the diner. This expansion allowed the Diner to seat 18 people at tables and included a new entrance with a glass-block vestibule. Since that time, the structure of the Diner has remained the same.

Yates County Deputy Sheriff Ralph Legg took over the Diner in 1949, but for whatever reason he couldn’t make a go of it and Jones took control back. In 1955, Jones sold the Diner to John and Inez Quenan, who ran the Diner for the next 25 years. During the Quenans’ tenure, according to a handwritten anecdote in the Yates County History Center’s subject files, Joe Just, who worked at Benson Printing – located in the Masonic Temple next to the Diner – broke the news to the staff and clientele of the assassination of President John F. Kennedy. The print shop took a coffee break every morning at 10 a.m., and the employees headed to the Diner. Just told John Quenan that Kennedy had been shot, and Quenan thought it was a joke until Just switched the TV station and turned to the news coverage.

In 1980, the Quenans sold the Diner to Lyman Beecher, whom John Quenan had trained. Beecher was known as “Lyman the Pie Man” for his homemade pies that were a signature specialty of the Diner during his time at the helm. In 2010, Beecher sold the Diner to Dean Smith, of Conesus. Smith’s tenure was short-lived; he closed the Diner for equipment renovations and opened for summer hours when the upgrades were completed. In 2012, though, Sean and Carrie Ahearn bought and re-opened the Diner after it had been closed for about six months. Calamity took place when the flash flood that hit Yates County in May 2014 left nine feet of water and six inches of mud in the Diner’s basement. Still, the Diner re-opened just 11 days later.

The community hopes the same can be said for the Diner now under the current owners, Anna Sweet, Nate Salpeter, Alicia Avellaneda, and Cameron Mills, as they contemplate the Diner’s life after another fire. A review of the Penn Yan Diner in The Naples News of December 1940 still rings true today: “The Penn Yan Diner is a popular place for motorists as well as local people as they offer a rapid service in good foods and there is no delay. … The air of the commonplace always makes all feel at home and this makes it a distinctly American institution as there is no atmosphere of formality. The service is courteous as well as rapid. The fact that they offer excellent service and good food brings them business from the outlying districts as people know that no matter what time of day or night they may be out they can always find everything in the food line.”

[tomoleary]

Lee Conklin "Lion's Head" Bill Graham poster for Aug. 27 to Sept. 1, 1968 concerts at Fillmore West in San Francisco, CA featuring Carlos Santana, Steppenwolf, Staple Singers, The Grateful Dead, Preservation Hall Jazz Band, Holy See and Sons of Champlin.

Source

[yr-obedt-cicero]

A volume from Hamilton's library, possibly signed by two of his sons

Hamilton had a large library and interest in several different types of books. His fascinating collection was said to have contained books in French, and different genres like philosophy, law, trading, and politics. Unfortunately, through inheritance and time the collection has been divided between several people and families most of it is lost to this day. But a particular interesting find is one of Hamilton's old books, Lex mercatoria rediviva; or, A Complete Code of Commercial Law: Being a General Guide to All Men in Business, by Wyndham Beawes.

With an account of our mercantile companies, our colonies and factories abroad, our commercial treaties with foreign powers, the duty of consuls, and of the laws concerning aliens, naturalization and denization: to which is added, a sketch of the present state of the commerce of the whole world, describing the manufactures and products of each particular nation, with tables of correspondence, and agreement of their respective coins, weights and measures.

The books is Volume 1, (241 x 152 mm), and is also the sixth edition. It lacks all preliminaries before advertisement leaf (including title-page), and all after S1 at end, there is dampstaining and light browning throughout it. Contemporary calf, smooth spine, morocco label, blind-stamped letter “H” for “Hamilton” to center; worn with losses to spine and corners, spine and text-block split down the center, hinges reinforced with cloth tape. Half blue morocco slipcase, chemise.

It's no surprise as to why such a book would be found in Hamilton's collection, commerce was rooted throughout Hamilton's childhood. At the young age of eight, in 1765, Hamilton would be a clerk for his mother's shop in Christiansted, St. Croix. After his mother's death in 1768, Hamilton soon found work in Christansted at the trade firm of Beekman and Cruger, who were both New York merchants. In an exceeding pace, he rose from clerk to manager, keeping the firm's books, dealing with ship captains, planters, merchants, Customers and suppliers, and buying and selling profitably on behalf of his employers. It was perhaps at Beekman and Cruger's that Hamilton first found Beawes's book on British commercial law.

In any case, Hamilton had definitely found the book in his hand during his college days at King's college. The book is quoted in his well-known pamphlet Farmer Refuted, in 1775;

“I shall sum up my whole remarks (says another writer) on our American colonies, with this observation, that, as they are a certain annual revenue of several millions sterling to their mother country, they ought carefully to be protected, duly encouraged, and every opportunity, that presents, improved for their increment and advantage; as every one, they can possibly reap, must at last return to us, with interest.”

Source — The Farmer Refuted, [February 23, 1775]

And later on in 1781, Hamilton asked Pickering for a copy of Lex mercatoria which he needed in order to compose an important letter to Robert Morris regarding the restoration of the colonies' credit and credibility in the eyes of foreign nations;

Let me know the result of your examination whether you can appoint a barrak Master to the French army; if you can, the General wishes you to appoint Col Champlin without delay. Have you the tract written by Price in which he estimates the specie & current cash of Great Britain? Have you Humes Essay’s, Lex Mercatoria or Postlethwait? Any of these books you may have, you will singularly oblige me by the loan of them. Be so good as to forward the inclosed by the first opportunity.

Source — Alexander Hamilton to Timothy Pickering, [April 20, 1781]

Later on Hamilton must have purchased another edition, as this particular copy was sold by H. and P. Rice, No. 50, Market-Street, Philadelphia, in 1795. And then signed his name in the Content's passage;

What is most interesting about this book though is the two signatures on the back possibly signed by Hamilton's eldest and youngest sons, Philip Hamilton, and “Little Phil”.

Philip seems to have taken a considerable interest in literature and there are many mentions of him lending or reading books. Philip graduated from his father's alma mater, King's College, in 1800 and immediately embarked upon a regimental reading of the law laid out by Hamilton. The books contains subjects and insight of law, which is likely why Hamilton might have passed it down to his son. But in 1802, challenged to a duel after an argument and scuffle that involved disparaging remarks about his father's political party, Philip was fatally wounded at Paulus Hook. Later that year, Eliza gave birth to their youngest son, who was named after his deceased brother. And might have taken up his volume of Lex mercatoria as well.

There have been more of Hamilton's old books found with his children's signatures inside of them. Another case being a book located in Columbia College (Formerly known as King's college) with Philip's and Hamilton's fourth son's signature, James Alexander Hamilton's. Although it has been argued that these “Philip signatures” could be Hamilton's great-grandchildren's, rather than his children's. As James did have a grandson named Philip and could have given the book to him instead of it originally belonging to his eldest brother;

In addition, it is interesting to note that Alexander Hamilton's son James—who was born and lived in New York, later returning and becoming an attorney like his father—was married to a daughter (Mary) of Robert Morris, whose inscription appears opposite the title page of a book of a different kind owned and autographed by Alexander Hamilton. Morris comments there that this book was given to him by Alexander in place of one that Morris had loaned to Alexander, who mislaid it. But the book in question is not in itself of direct interest here.

Although certain other books bearing Alexander Hamilton's signature of ownership are not of direct interest here, one of them is also autographed by Philip Hamilton. Philip was the name of Alexander Hamilton's oldest son (killed in an 1801 duel) as well as the name of the grandson of Alexander's third son, James, cited above. Since Alexander's son Philip (b. 1782) was nearly 20 when killed prior to his father's death, it is likely that he, like his younger brother James, inscribed his name in such books, even before their father's death in 1804, that is, in books that Alexander possessed and gave to his sons and that like others remained in Alexander's family orbit for him to see. Or, the book in question could have been acquired by Alexander's son James and later handed down to James' grandson Philip, although in that case one might have expected James to be an autographer as well, which he was not.

Source — Origins of Legislative Sovereignty and the Legislative State, Volume 6, by A. London Fell

Which could be an argument here, but there is no indication this particular book was passed down to anymore children after Phil signed his name.

When comparing the similarities of the signatures with the signatures seen from the brothers in their letters, it is safe to assume the signature on the left page is Phil II's, and the one on the right is Philip's. As Philip seems to have often merely left his first name signed off as nothing but a “P”, usually taking on an “O” shape. While Phil seems to have preferred writing out his full name.

Little Phil's signatures;

Philip's signatures;

Although it is debatable, as Sotheby's disagrees and claims Philip's signature is on the front free endpaper—while Phil's signature is on the front pastedown.

Source: Sotheby's.

[lobstersinmyhouse]

Top five underrated songs or artists, need new music to listen to

O fuk idk if I can think of five good ones but here goes

1) Hugh Masakela. One of the best jazz artists on the planet. I'm talking Louis Armstrong tier. Highly underrated outside of Africa.

2) Thomas Mapfumo, the king of Chimurenga music and a hero of the Zimbabwean revolution.

3) Sons of Champlin, a bay area psychedelic band who could've made it big. Lots of brass and interesting arrangements. They were overshadowed by the grateful dead

4) Any John Zorn project. Dude's really good at torturing jazz instruments. I particularly like painkiller.

5) auhghhhb my brain hurts from thinking. Iunnooo I'm sorry

[sgokie2024]

The famous Santana Lion sprang from legendary artist Lee Conklin's fortuitous combination of a doobie break and a child's animal picture book, and is an amazing & astounding

"Poster From The Past".

From that vision came the African priestess and the King of beasts image, combined in Conklin's signature, complicated style. Santana was so taken with the poster that they asked the artist to redraw the picture for their first album cover, and the lion and Santana became permanently linked in aficionados' minds. Although Bill Graham preferred color posters to advertise his concerts, this poster was so powerful in its original pen and ink, it was sent to press that way.

And so, 56 years ago back in 1968, these incredible shows took place with the likes of Steppenwolf, The Staple Singers, Carlos Santana, Grateful Dead, Preservation Hall Jazz Band and The Sons of Champlin, began six nights of concerts at the Fillmore West here in our beautiful "City by the Bay". Fabulous light show, as usual by The Holy See. This is BG number #134 in the old Fillmore poster series. It was printed two times. Everyone just Loves this one!

Here is Santana’s classic debut album with this artwork on it’s cover….

https://youtube.com/playlist?list=PLOAG3MjZlxrTUPFTXOsVG7nRWjW35qHbp&si=nltt1bovAqm8orOe

Share the Lion

Roaring with Approval by

🦁 Professor 🎩 Poster 🦁

[bamboomusiclist]

1/30 おはようございます。 Matt Dennis / Dennis Anyone Lpm1134 等更新完了しました。

Jaye P. Morgan / Lately PLP-S6540 Matt Dennis / Dennis Anyone Lpm1134 Matt Dennis / Welcome Matt jgm1105 Matt Dennis / She Dances Overhead Lpm1065 Ella Fitzgerald / Lady Time 2310825 Hampton Hawes Martial Solal / Key For Two byg529125 Leroy Vinnegar / Leroy Walks C3542 John Coltrane / The Believer prt7292 本田竹曠 / T Honda Meets Rhythm Section Featuring S Watanabe pa-9718 本田竹曠 / Jodo pa-9720 Gary Bartz / Singerella A Ghetto Fairy Tale p10083 Val Stoecklein / Grey Life DLP25904 John Stewart / Willard ST-540 Electric Prunes / Just Good Old Rock And Roll RS6342 John Kay / Forgotten Songs & Unsung Heroes Dsx50120 Sons of Chaplin / The Sons Of Champlin st50002 Bruce Springsteen / Tunnel Of Love OC40999 Rock Workshop / the Very Last Time s64394 Queen / a Night at the Opera emtc103 Dan / The Music Of The Dan BM30L2301

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[formeroklahoman]

Considered by many to be one of the greatest rock "Posters From The Past" of all time, this classic design is known as “Aoxomoxoa,” and was used as the title and cover design for the Grateful Dead’s third album. There are many interesting things about this poster.

The name of it "Aoxomoxoa", which doesn't appear on the poster itself, is a palindrome which is spelled the same both forward and backward. And if you split the poster in half vertically the drawing (other than the lettering) is the exactly the same on each side. And then, there is the hidden message! If you cover up the bottom half of the "Grateful Dead" lettering across the top, it will read.... "WE ATE THE ACID"!

It was 55 years ago back in 1969, that The Grateful Dead, Sons of Champlin and Intial Shock played at the Avalon Ballroom. Light show by The Garden of Delights.

After the Family Dog left the Avalon Ballroom, Soundproof Productions became the first outfit to produce rock shows there. This piece was used to promote the very first Soundproof show.

The artist that created this Masterpiece was the late Rick Griffin.(RIP 1991) His artistic genius shines brightly in this poster from the incredible lettering, to the sexual symbology that is seen throughout. While there are numerous bootlegs of this poster, there are also several legitimate printings as well that range widely as far as price goes.

Without a doubt, Approved by

💀💥Professor Poster💥💀

[paulodebargelove]

Warren G - This D.J. (Official Video) Warren G was on his shit  G-Funk era was a time to be alive Warren G on the prod sampling Eric B & Rakim, Midnight star, Mtume & Sons of Champlin

[russmorris]

From my Fillmore West handbill collection…

BG273-274-PC Poco, Siegel Schwall, Wishbone Ash. Mar 11, 1971.

The Sons of Champlin, Mark-Almond, Commander Cody. March 18, 1971

Norman Orr

[garland-on-thy-brow]

Notes on Agrippina in Racine's Britannicus. 

Again indebted to Argent's discussion on the play. I only seriously disagree with him in his interpretation of Octavian (I have given mine here).

(1) Nero, as Argent puts it, is a riddle because he always performs, and this is what makes him truly fascinating and unsettling. There is a distance between what he is and what he performs. The darkness behind the mask.

I would argue Agrippina a riddle, for a different but related reason: there is a distance between what she used to be and what she is. The past we never see.

Britannicus is a play about power, unchecked, creating a monster. 

Agrippina's power is ruined before the play even starts. But it used to be there. In Agrippina's own words:

"When, my hand guiding the affairs of state, The senate, at my call, would congregate. Then, veiled but present, I would play my role: That august body’s all-controlling soul."

[Jean Racine’s Britannicus; Translated into English Rhymed Couplets by Geoffrey Alan Argent.]

And later, speaking about her taking over Claudius' authority:

"Too late: bed, palace, guards were in my power"

[Ibid.]

After another transfer of power, the "veiled but present""all-controlling soul" is now Nero himself. Literally: at one point he watches, from behind a curtain, the scene between Junia and Britannicus that he wrote and staged himself.

Agrippina is very human in this play. She can be so only because she has been forcibly removed from power. By the rules of the play, one cannot both reign and be human. 

She was a monster, and indeed could have continued to be, had the past events played out differently  - but we never see her be one. I would like to see that! Let me in!

By the time of the play, Agrippina has undergone a reverse transformation, monster to human - which is arguably much rarer than "human turned monster". Is it not an interesting case?

It seems she sorely regrets it.

(2) The play starts with Agrippina waiting, before dawn, at Nero's door, intent on catching him once he wakes up - only to find out that, while she thought him sleeping, he has been talking to Burrhus and the consuls there: the consultations from which she was, literally, shut out! This infuriates Agrippina: she accuses Burrhus and the absent Seneca (appointed Nero's tutors through her own grace) of stealing her son from her, and demands they stop meddling.

This scene vividly reminds me of Suetonius Otho 3: "on one occasion, [Otho] even shut out the emperor [Nero] himself, who stood before his door, vainly mingling threats and entreaties and demanding the return of his trust [i.e. Poppaea]".

Let me quote Champlin's commentary on the same scene:

"The story as Suetonius presents it is particularly intriguing. From one angle, Nero is shown as the sad and angry figure of the exclusus amator in love poetry, shouting at his mistress’s closed door: ipsum etiam exclusisse quondam pro foribus astantem miscentemque frustra minas ac preces ad depositum reposcentem. At the same time, there is an elegant legal color, punning on two kinds of contract. Nero made a temporary loan, in that Sabina was demandatam interim to Otho: a mandatum was a contract whereby one party agreed to perform a service gratuitously for another. But when he came to demand her back, he asked for his depositum: a depositum involved the handing over of a thing for safekeeping but not for use. That is, literarily and legally this is a very clever tale, and Suetonius was probably not its inventor." [Edward Champlin: Nero].

Agrippina, at Nero's bedroom door, demanding back her son whom she gave to Seneca and Burrhus for safekeeping, seems strikingly similar in tone to Nero demanding back his lover.

Agrippina is wrong, however, to put the responsibility on the tutors while it is Nero himself who plays them (and hides behind them for a while). There is a parallel fo this too: Plutarch (Life of Galba 19.4-5), commenting in the same situation as Suetonius, tells us that it was Poppaea herself who would shut out Nero, using Otho as a mere pretext.

[pomp-quio]

Alright since @garland-on-thy-brow and @soldatrose came in with guns blazing, I think I have to take this post a little more seriously - so here's the list of things stolen by Pompey (this list is unfinished! You can help by expanding it!)

Imagery for Agamemnon from Lucullus

Triumphs (and credit) that he should not have received

Edward Champlin, Agamemnon at Rome: Roman Dynasts and Greek Heroes

Plutarch, Life of Lucullus

Plutarch, Life of Pompey

Spartacus and the victory in the Servile War from Crassus

Plutarch, Life of Pompey

Sulla's Inheritance

Plutarch, Life of Crassus

Sulla tried so hard to keep Pompey out of it but instead Pompey gets recognition for saving his funeral, takes Faustus as his son-in-law, and steals the Mithridatic command from Lucullus, arguably a form of Sulla's inheritance.

Plutarch, Life of Pompey

Plutarch, Life of Pompey

Plutarch, Life of Lucullus

Plutarch, Life of Pompey

Plutarch, Life of Sulla

Crete from Q. Caecilius Metellus Creticus

Cassius Dio, The Roman History, Book 36

Sertorius and the campaign in Spain from Metellus

Plutarch, Life of Pompey

Plutarch, Life of Pompey

Cassius Dio, The Roman History, Book 36

Cornelia and Julia

Plutarch, Life of Pompey

Cassius Dio, The Roman History, Book 38

Plutarch, Life of Pompey

And! And!! He even steals the show at Caesar's death!

Plutarch, Life of Caesar

Pharsalia Discord encouraged me to set up a Pompey harem but instead I think its a lot more appropriate to consider a list of things he stole from people. So far:

- Agamemnon from Lucullus

- elephants from Scipio

- praise for the victory over Spartacus from Crassus

[omegaplus]

# 3,955

Grand Puba: “360* (What Goes Around)” (1992)

Was it Hot 97 or 107.5 WBLS (or even both frequencies) that I heard the original and the SD50 remix? Those came around when four of our neighborhood middle schools converged into one. Oh, Brentwood had loads of fun with everyday fist-fights in the halls, people getting body-slammed on the broken asphalt, and kids getting beat up in the bathroom for looking at someone else’s manhood. All the hoods tried representing their middle school with unprovoked coldcocks and stares in the wrong direction that caused any whitebread Timmy to have a bad day at school and answer to mom when they came home. That’s how bad our district was. So bad that we had one of the worst reputations on the island and all the other towns across the island hated us. Wait...we were supposed to talk about Grand Puba?

-Puba was hot off of a solo career after leaving Brand Nubian and took DJ Alamo with him. He collaborated with Mary J. Blige on “What’s The 411?” (’92) and around that time released “360* (What Goes Around)”, another solid effort right before Brand Nubian temporarily disbanded and still kept going on his solo career. But one great thing about Brand Nubian as a whole was that they eschewed consciousness and intellect over violence, and just as important were the classic samples they utilized as they had great association with dee-jays and producers in their careers. Here, -Puba twice features Gladys Knight & The Pips’ “Don't Burn Down the Bridge” and Otis Redding & Carla Thomas’ “Tramp (’67) for the original. The SD50 remix features Sons of Champlin’s You Can Fly (’69) for the beats and The Mar-Keys’ “Grab This Thing” (’66) for that funky jazzy spin.