#i actually own one of the 3-in-1s they released

[littlecountryblues]

head in hands.. i think my loud house fixation is slowly rising from the dead yall..

which. can u blame me. the show is FILLED with silly little guys

[strniohoeee]

Racketeer Pt. 3

Pairing: Chris Sturniolo X Female Reader

Synopsis: Y/N hates Chris hoodrat lifestyle, but when something goes wrong she’s ready to protect her man👥 Okay this is part 3 of a series I just made for shits and giggles for my best friend, but the fact that so many people like it is shocking and also amazing!!! Love this for us, I’m a hoe for hoodrat Chris even though I’m a Matt girl🧎🏽‍♀️

Warnings⚠️: uhh d*ath threats, Chris with a pewpew, pistol whipping, and uhhh I think that’s all…hope you enjoy 🖤

Song for the imagine: 308-22Gz (this is pure hoodrat NY trap music I LOVE IT)

When we spin through, it’s a D-O-A

We caught a opp at like 3:08

Fuck it and fuck up a B-O-A

Flashback

“Chris I’m not fucking holding your gun, so I’m definitely not fucking shooting it” I told Chris as he had his pistol on the kitchen table

“Baby why not? We literally got targets on our back because of who I am. I want my lady to be able to handle her own if I’m not there” he said in a matter of fact way

“Yeah a target on our back because of the life YOU chose to run with….plus I will always have you, so no” I said drinking my water

“What if I’m in a headlock, the pistols on the ground, and any one of his goons could come and pop me, and then pop you” he said raising his eyebrows

“Well then the lord better be on our side cause I ain’t picking up your gun” I said shrugging my shoulders

He picks up his gun and points it at me

“CHRISTOPHER HAVE YOU LOST YOUR FUCKING MIND” I said flinching

“BANG BANG BANG, you’re dead” and then he turns the gun on himself “BANG BANG BANG, I’m dead” he said laughing

“Put the fucking gun down now” I said getting upset with him

“Baby the clips empty, and I took the bullet out” he said showing me the gun

“Give me the fucking gun, and show me how to use it” I said getting annoyed

“YES IM TEACHING MY BABYYY, I’m gonna have my own personal shooter” he said getting excited

Flashback over

Tonight Chris’s friends were having a party after one of the guys got released from prison. They rented out a whole club for this kid

“I don’t want to go” I said to Chris dragging my feet

“Come on, why not it’s a nice area. The club is only open for us, and you know ima protect you” he said getting dressed

I was already ready, but I just didn’t want to go anymore. I felt like this was our whole life…. parties, fast cars and thugs….but I digress

“Fine I’ll fucking go” I said getting my outfit picked out. It was cold in Boston, so I decided on a long sleeve fitted black shirt, medium wash baggy boyfriend jeans, and my black Air Force 1s (shawty on demon time). I flat ironed my hair, and put on my black north face puffer jacket

“The black air forces?? Whose head are you stompin on tonight?” Chris asked laughing

“Anybody who fucks with you” I said putting my perfume on

“Blue jeans or black” he asked me

“Black” I said back

Chris came out in an all black shirt, with black jeans, his timberland boots on, and his black puffer coat

“Alright baby Boston Red Sox black and white hat, or Yankees” he asked

“Boston….HELLOOO” I said laughing at him

“Duhhh how could I be so stupid” he said making a dumb face

We had driven to the location of the club, and it was indeed a nice area, but it was known for gangs so there were some dodgy people out.

“Don’t leave my side at all” Chris said helping me out the passenger side, and shutting the door behind me

“Never baby” I said, and he locked the car

We walked to the club, and immediately I recognized everybody there. I even seen some of my girl friends who were either dating or messing around with one of these guys

The whole night we had such a blast, laughing, talking, drinking and dancing. Although these people had some crazy shit under their belt, they were actually super nice and respectful people.

“Yoo there’s some kids out there, talking about Drew’s gang or whatever” one of Chris friends came up and said to all of us

“That little fucking kid with the tattoos on his face?” Chris asked

“Yeah, he’s getting mad staticy outside, and wallin out. The security guards about to lay his ass out” he said

“Tell that fucking kid that I’m going to be dealing with his soon” Chris said taking a sip of his drink

“Ai, he’s alone so he ain’t gonna try some shit” he said to Chris

“Even if he does…I’m strapped tonight” Chri said lifting his shirt up exposing the pistol in his waistband

His friend nodded at him, and went to head back out to relay the message to the other guy.

“Baby….for once not tonight” I said looking at Chris

“I’m not gonna do anything, but if people start talking crazy” he said raising his hands up

“No Chris! You have to stop this” I told him taking a sip of my drink

“What?? I’ll bust him in his medulla….nobody will fuck wit me after that” Chris said laughing

I just shook my head and laughed at him

At this point it was about 2AM, and we all started to head out. We walked outside, and Chris was saying bye to the security guard and some of his friends

I was waiting for Chris to finish chatting with his security guard, when I saw someone in the corner of my eye. For once can someone not try Chris and I

“Yoo this your man?” The kid said coming up to me and pointing at Chris

I just ignored him, me being from New York…you never ever turn your head when someone’s coming up from behind you to ask you, or tell you something. That’s a death wish.

“You deaf ma?” I heard him say again

“Yo get the fuck outta here” I heard Chris say from behind me

“Yo get the fuck outta here Chris, Drew’s people got something for your ass, and it’s gonna start with your lady here” he said nodding his head at me

“Did you just threaten my woman” I heard Chris say, and he started to walk towards him, so I turned around to watch this glancing at the security guard to keep an eye out

“Don’t shoot the messenger…..you keep fucking wit our guys…they gonna come for you” he said

“I’ll shoot you, and the motherfucka who sent you” Chris said getting closer to the guy

“Babe stop” I said trying to keep Chris calm

“Yeah listen to your lady…wouldn’t want her with a hole between her eyes now would we?” He asked smuggly

All of a sudden I just see Chris swing at the guy, his right fist connecting with his cheek

“DONT YOU EVER FUCKING SAY SOME SHIT ABOUT KILLING MY GIRL. ILL FUCKING KILL YOUR WHOLE LIFELINE BITCH” Chris screamed at him and they started to throw punches

“CHRIS PLEASE STOP, THIS HAS TO FUCKING STOP PLEASE” I said begging, but not wanting to get in between them because I was not about to get cracked in the jaw

I'm not sure what happened but they started to struggle with each other, and were just scuffling. I had a feeling the guy felt Chris’s gun, and was trying to grab it

“FUCK YOU” Chris started to scream and started throwing punches at the guys ribs, as he had Chris in a headlock

All of a sudden his pistol fell out, and at the same time the guy got Chris on his back on the ground, and they were throwing punches.

The pistol slid pretty far, and I was contemplating on if I wanted to pick it up or not…..Fuck it…this is my man, and I will fucking do anything to protect him

I picked up the pistol, and cocked it back

“GET THE FUCK OFF OF MY MAN, OR I WILL BLOW YOUR FUCKING HEAD OFF” I yelled at the guy, both of them turning to look at me

“You’re a little bitch, you ain’t pulling no fucking trigger fuck outta here” he said still struggling with Chris

I don’t know what came over me, but I moved the gun from pointed at his head to pointed just behind it, and then I pulled the trigger

The bullet flew right past his head, and it was so fucking loud, everybody froze including me

“THE FUCK” the guy yelled, and while he was looking at me Chris used this to punch him on the jaw knocking him backwards

Chris got up, and came over to me, and grabbed the pistol out of my hands

He walked over to the guy, standing over him and grabbed him by his shirt

All of a sudden Chris pistol whipped the guy, and I gasped covering my mouth

“If you ever come around me and my people, and my FUCKING woman again talking out your neck I’m going to come for your whole fucking blood line, got it” he said as he held the pistol under the kids chin

“Yeah yeah” the guy said out of it

“NO FUCKING YEAH YEAH, YOU GET IT OR YOU DONT WE WOULDNT WANT TO SEND YOU BACK TO DREW WHTH A BULLET BETWEEN YOUR BROWS NOW WOULD WE” Chris said laying the gun in between the guys brows

“No no….I promise you’re all good. I’ll never fucking look at yall ever again” he said in fear

“Yeah you better not, and if we ever cross paths again…you better cross to the other side of the street. Cause you just earned a target on your back, and when I’m ready to pop you and your people I'm coming for yous ….cause all my opps is targets, see the red dot no target got it bitch” he said throwing the guy down onto the ground

Chris looked at his security and nodded for him to get rid of the kid, and keep everything on hush. He tucked the pistol into his waistband and grabbed my hand

“Lets go ma” he said walking with me

We got into the car, and I was still so shocked by everything

“Look at you….almost boomed the kids face off for me” he said smirking

“I don’t know what took over me, but I knew I wanted to hurt him to protect you” I said to Chris

“That’s exactly how I feel everytime someone fucks with you” he said leaning in and kissing me

“You’re not going to go after him right?” I asked

“No, but it creates enough fear in his heart that he won’t even fuck with us ever again” he said putting the car in drive, and grabbing my hand to interlock it

“Chris we have to stop this lifestyle” I told him

“And we will baby, I promise you” he said kissing my hand as he drove off

The End

Alright this was part 3, and I may or may not write a part 4 depending on the feedback, but this one was my favorite one to write 💋💋

-J💅🏽

[randomvarious]

Today’s compilation:

The Best of the Sound of Sunshine 1991 Disco / Disco-Funk / Funk / Soul

Today I took a look at T.K. Records, an independent label from Miami that played a foundational role in helping to grow and spread disco music worldwide while the genre was still in its mid-70s infancy and then continued on as a Billboard Dance chart staple until its untimely demise in 1981. Had it not been for T.K., it's actually entirely possible that the disco era as we know it may have never even occurred 😮.

And it all starts with this album's opener, the blissfully dreamy and unexpected #1 single that's now managed to sell over *11 million records worldwide,* George McCrae's 1974 debut, "Rock Your Baby." It was written by two members of KC & the Sunshine Band, Harry Wayne Casey and Richard Finch, shortly before that group would become their own force to be reckoned with. And the funny thing about this particular song is that it sort of happened on a bit of a whim: McCrae was only called in because KC & the Sunshine Band couldn't sing the high notes themselves. And they'd also intended for George's wife, Gwen, whose career he also managed, to record it, but she didn't make it to the session in time. George didn't even have any solo career to speak of at that point and was actually planning on going back to college, but that recording invitation ended up changing everything for not only him, but also KC & the Sunshine Band, T.K. Records itself, and even the trajectory of disco music as a whole since the tune became one of the genre's first ever feats. And it's also one of the first songs to *ever use a drum machine* too. So, it's literally a world-changing record. And I also happen to think that it's one of the greatest songs that's ever been made, period; like, top-ten-status. Seriously, it’s *that* good.

And the unprecedented success of "Rock Your Baby" then paved the way for KC & the Sunshine Band to keep the still nascent disco wave going on their own, with two of their first *five #1 hits in a five-year span* being released within just four months of each other in 1975: "Get Down Tonight" and "That's the Way (I Like It)," both of which have become genre-defining disco playlist staples and are also featured on this album.

KC & the Sunshine Band would then anchor T.K.'s roster throughout most of its remaining existence, but Harry Wayne Casey and Richard Finch would also co-write more songs for other acts on the label too, including a terrific piece of uptempo funky soul by the one and only Betty Wright, whose "Where Is the Love," released by T.K. sublabel Alston, barely managed to scrape the Hot 100 in 1975, but ended up peaking at #2 on the Dance Club chart.

And T.K. had other successes that didn't involve KC & the Sunshine Band too. One example is another global chart-topper in 1979 from one-hit wonder Anita Bell, who recorded "Ring My Bell" for T.K. subsidiary Juana. The rest of the label's songs that didn't involve KC & the Sunshine Band didn't fare nearly as well as that one, but The Bahamas' T-Connection managed to top the Dance chart for a full seven weeks in 1977 with "Do What You Wanna Do," which appears on this album alongside another excellent track of theirs from the following year called "At Midnight," which peaked at #3 on the Dance chart.

And closing out this album, much like it began, is another chill disco bop that features a great lead male falsetto on it in Foxy’s “Party Boys.” Released in 1980 as the band’s final single, it’s equipped with a fat bassline and some nice, soft touches of organ. It never made the Hot 100, but it peaked at #24 on the Dance chart. and it's proven itself to have been a pretty damn fine swan song for the group.

Now, I wouldn't say that this album fully entails what the best of T.K. Records and its many subsidiaries was, because, for that to happen, at least five of these songs would've had to have been by KC & the Sunshine Band. But still, only with just two of their #1s, "Rock Your Baby," and "Ring My Bell," you can see just how integral this label was to disco's success. And beyond that list of all-time disco bangers, T.K. was also able to keep the Dance chart humming with more terrific offerings that have become much more underappreciated over the years. There's a very important slice of disco history that's packed into this album, even if it doesn't present *all* of T.K.'s greatest hits.

Highlights:

George McCrae - "Rock Your Baby" KC & the Sunshine Band - "Get Down Tonight" KC & the Sunshine Band - "That's the Way (I Like It)" Peter Brown - "Do You Wanna Get Funky With Me" Anita Ward - "Ring My Bell" T-Connection - "At Midnight" T-Connection - "Do What You Wanna Do" Jimmy "Bo" Horne - "Spank" Betty Wright - "Where Is the Love" Foxy - "Party Boys"

[michaelsavageusa]

Stepping into Sneakerhead Paradise: A Glimpse into the World’s Most Outrageously Expensive Kicks

By Mike Savage, New Canaan collector of sneakers

Forget diamonds, folks. The real treasures these days are nestled between toes and secured with fancy laces. Welcome to the wacky world of rare sneakers, where a single shoe can cost more than your used car and a complete collection might fetch you a small island.

The niche collector category actually boasts a variety of global collector communities around the world. But every unique collector shoe has a unique value to the collector in all of us.

Buckle up, sneakerheads and curious onlookers alike, as we take a hilarious romp through some of the most valuable kicks ever to grace asphalt (or, more likely, pristine display cases).

Here are some of my favorite sneaker stories.

1. The Moon Shoe: Giant Leap for Sneakerkind (and Your Wallet)

Moon Shoe sneaker

Imagine a shoe so rare, it predates the internet (gasp!). That’s the moon shoe, a 1972 prototype crafted by Bill Bowerman, the co-founder of Nike, using his wife’s waffle iron. Yes, you read that right. Waffles. Only 12 pairs were ever made, and one recently snagged a cool $437,500 at an auction. Talk about sole-searching! Mike savage New Canaan

2. Air Jordan 1 “Chicago”: His Airness, His Kicks, His Millions

Air Jordan 1 Chicago sneaker

Michael Jordan’s iconic “Chicago” Air Jordan 1s are like the Mona Lisa of sneakers. Released in 1985, they were banned by the NBA for being “too colorful,” which, of course, only boosted their mystique. Today, a pristine pair can set you back a casual $100,000. Just remember, these babies are for admiring, not slam dunking.

3. Kanye West’s Air Yeezy 1 “Prototype”: From Grammy Stage to Auction Block

Kanye West Air Yeezy 1 Prototype sneaker

Before Kanye became a fashion god (debatable, we know), he was just a rapper with a killer shoe deal. His Air Yeezy 1 prototypes, the ones he wore at the 2008 Grammys, are now sneaker holy grails. One pair fetched a whopping $1.8 million in 2021. So, next time you see Kanye rocking some outrageous kicks, remember, he could be walking on a small fortune.

4. Nike Dunk SB Low Paris Bernard Buffet: When Art Meets Soles

Nike Dunk SB Low Paris Bernard Buffet sneaker

These Dunks aren’t just sneakers; they’re tiny masterpieces. Created in collaboration with the French artist Bernard Buffet, only 200 pairs exist, each featuring his signature swirling brushstrokes. And the price tag? A cool $90,000. Talk about expensive feet!

5. Solid Gold OVO x Air Jordans: Bling for Your Soles (and Your Bank Account)

Solid Gold OVO x Air Jordan sneaker

If you’re looking for sneakers that scream “I’m rich and fabulous,” then look no further than the solid gold OVO x Air Jordans. Dripping in 24k gold and diamonds, these beauties were a gift from Drake to his October’s Very Own co-founder Oliver El-Khatib. Price tag? A cool $2 million. But hey, at least they’ll never rust!

So, why are these sneakers so valuable? It’s a cocktail of factors: limited production, cultural significance, historical importance, and a healthy dose of hype. They’re like tiny time capsules, capturing a moment in sneaker (and sometimes pop culture) history. Plus, let’s be honest, there’s a certain thrill in owning something so rare and coveted. It’s like having your own personal mini-museum on your feet. savage new Canaan

But before you start raiding your piggy bank for a pair of moon shoes, remember: these sneakers are for the one percent. For the rest of us, there’s a whole world of amazing (and affordable) kicks out there waiting to be discovered. So, lace up your trusty sneaks, hit the pavement, and create your own sneaker adventure. Just don’t step on any million-dollar masterpieces along the way!

And hey, if you ever do find yourself with a spare $2 million lying around, feel free to send a pair of solid gold Jordans my way. I promise to take good care of them. (With kid gloves, of course.)

ABOUT MIKE SAVAGE OF NEW CANAAN, CT

Mike Savage from New Canaan is the Founder of 1-800 Accountant that helps businesses with their accounting services and needs through cutting-edge technology and customer support.

In his spare time, Savage enjoys creating unique koi ponds, building vintage Lego sets, and admiring muscle cars and unique pop art. He and his wife also spearhead the Savage-Rivera foundation to help impoverished families in Honduras.

[mikesavagenewcanaanusa]

Stepping into Sneakerhead Paradise: A Glimpse into the World’s Most Outrageously Expensive Kicks

By Mike Savage, New Canaan collector of sneakers

Forget diamonds, folks. The real treasures these days are nestled between toes and secured with fancy laces. Welcome to the wacky world of rare sneakers, where a single shoe can cost more than your used car and a complete collection might fetch you a small island.

The niche collector category actually boasts a variety of global collector communities around the world. But every unique collector shoe has a unique value to the collector in all of us.

Buckle up, sneakerheads and curious onlookers alike, as we take a hilarious romp through some of the most valuable kicks ever to grace asphalt (or, more likely, pristine display cases).

Here are some of my favorite sneaker stories.

1. The Moon Shoe: Giant Leap for Sneakerkind (and Your Wallet)

Moon Shoe sneaker

Imagine a shoe so rare, it predates the internet (gasp!). That’s the moon shoe, a 1972 prototype crafted by Bill Bowerman, the co-founder of Nike, using his wife’s waffle iron. Yes, you read that right. Waffles. Only 12 pairs were ever made, and one recently snagged a cool $437,500 at an auction. Talk about sole-searching! Mike Savage New Canaan

2. Air Jordan 1 “Chicago”: His Airness, His Kicks, His Millions

Air Jordan 1 Chicago sneaker

Michael Jordan’s iconic “Chicago” Air Jordan 1s are like the Mona Lisa of sneakers. Released in 1985, they were banned by the NBA for being “too colorful,” which, of course, only boosted their mystique. Today, a pristine pair can set you back a casual $100,000. Just remember, these babies are for admiring, not slam dunking.

3. Kanye West’s Air Yeezy 1 “Prototype”: From Grammy Stage to Auction Block

Kanye West Air Yeezy 1 Prototype sneaker

Before Kanye became a fashion god (debatable, we know), he was just a rapper with a killer shoe deal. His Air Yeezy 1 prototypes, the ones he wore at the 2008 Grammys, are now sneaker holy grails. One pair fetched a whopping $1.8 million in 2021. So, next time you see Kanye rocking some outrageous kicks, remember, he could be walking on a small fortune.

4. Nike Dunk SB Low Paris Bernard Buffet: When Art Meets Soles

Nike Dunk SB Low Paris Bernard Buffet sneaker

These Dunks aren’t just sneakers; they’re tiny masterpieces. Created in collaboration with the French artist Bernard Buffet, only 200 pairs exist, each featuring his signature swirling brushstrokes. And the price tag? A cool $90,000. Talk about expensive feet!

5. Solid Gold OVO x Air Jordans: Bling for Your Soles (and Your Bank Account)

Solid Gold OVO x Air Jordan sneaker

If you’re looking for sneakers that scream “I’m rich and fabulous,” then look no further than the solid gold OVO x Air Jordans. Dripping in 24k gold and diamonds, these beauties were a gift from Drake to his October’s Very Own co-founder Oliver El-Khatib. Price tag? A cool $2 million. But hey, at least they’ll never rust!

So, why are these sneakers so valuable? It’s a cocktail of factors: limited production, cultural significance, historical importance, and a healthy dose of hype. They’re like tiny time capsules, capturing a moment in sneaker (and sometimes pop culture) history. Plus, let’s be honest, there’s a certain thrill in owning something so rare and coveted. It’s like having your own personal mini-museum on your feet. By Mike Savage, New Canaan collector of sneakers

But before you start raiding your piggy bank for a pair of moon shoes, remember: these sneakers are for the one percent. For the rest of us, there’s a whole world of amazing (and affordable) kicks out there waiting to be discovered. So, lace up your trusty sneaks, hit the pavement, and create your own sneaker adventure. Just don’t step on any million-dollar masterpieces along the way!

And hey, if you ever do find yourself with a spare $2 million lying around, feel free to send a pair of solid gold Jordans my way. I promise to take good care of them. (With kid gloves, of course.)

[chi-haku]

happy rockstar day!

skz new album rockstar is out today and now its time for me to rank the albums. this ranking is made AFTER my first listen, no rewinds, no relistens (with the exception of the title cuz of the mv) see below for my ranking; this is perhaps The Album of All Time.

leave - ooooo the intro reminds me kind of early kpop, which FUCKS. kind of like an early infinite vibe maybe; like i should be watching two members fight over a girl who has treated them horribly. there should be a car that spins an unreasonable amt of times.

lalalala (rock version) im breaking my own rule of not ranking remixes. this is awesome. it deserves to be on its own. im losing my mind. the outro is amazing. this is everything. i hope they do this one at the mamas

2. comflex - oh these backing sounds at the beginning servin factory; ok surprise cunt serve actually,,,,these songs are impossible to rank actually. i really like the pre chorus GOD THIS SONG IS SO GOOD. just barely edged out becuz I didn't want 3 number 1s

3. megaverse - WOAH THIS IS AWESOME. its serving i should be on a tron motorcycle; the swap to the breakdown threw me off but is it skz without a clunky lil transition; AROUND 1:30 THO??? and the rap in this still goes hard. skz does hype music so well i love this—THIS A MEGAVERSE BITCH? huhhhhh

3. lalalala - like. this song goes so fucking hard. it is so fun; specifically SEUNGMINS voice really stands out to me a lot this title and i love it i love his voice!! im so happy w this title immediately on repeat first listen

4. blind spot - another like just fun dancey track omg?? its serving kind of a lil more electronicy cant stop vibes, kinda day6 vibes and i LOVE LOVE LOVE IT!!

5. cover me - this shit got me holdin a lighter up and swayin, this is a fun lil stare at the window and sigh wistfully song. reminds me of their Christian rock era

in conclusion. this is no skips, genuinely one of their best releases in a while.

[bunnygirlheart]

List 5 things that make you happy, and then put this in the ask box for the last 10 people who reblogged something from you. Learn to know your mutuals and followers 🤍

oh sorry i forgot abt this

uhm,, suppose its kind of a cheat 2 just say 'my friends' 5 times huh

welllllll, bunnies, girls, duh

... this got super long after this line so uh

games, ive been playin modded fallout 3 a lot lately and havin a great time, my character has purple hair and like. a laser shotgun? (the metal blaster from the pitt) and a sweet cybernetic eye that gives her night vision and thermal imaging? so cool. She's also got a big ol sentry bot w/ a gatling laser that kinda murders things before I get a chance to actually do it myself which tbh is fine by me?? hehe

I kinda wanna start another game though where insteada robots and lasers i get animals and swords ? that also could be really cool? although . seems pretty hard to go melee i suspect w/ fwe making everything so lethal,, but hey i feel it might be fun to try and i can always tone down the settings if it doesnt work out.

Other than fallout 3 I play mtg like . all the time, and right now ive been playin w/ some monoblue list thats popular in standard atm just 'cuz mtga is hard and i already had most of the cards for that? and my other more fun deck is my oni-cult anvil thing ive been messing with pretty much since the card released? mechanized warfare came out w/ the latest set and its Nice. Also I have a couple mishras and dragon engines but i havent managed to meld yet. Still solid cards on their own though I dropped a mishra on a board where i had two anvils running for a while and abt a million 1/1s so i just swung out w/ em and drained my opponents life to nothing? realllll nice. (they had too many creatures of their own for me to actually be attacking before then so i just . accumulated lil dudes to keep the ground gummed up a while, which was working well enough)

Other than those decks .. I do play my anax deck in historic brawl pretty regularly, and I mean mechanized warfare was a good upgrade there as well, for obvious reasons. Monored would Love to do 1 more damage with everything! Also put phyrexian dragon engine in there too, 'cuz like . yay card draw, yay 3 mana 2/2 doublestrike? ... come to think im not sure i have ox of agonas in there, maybe I should add that one too,, oh one more recent upgrade wasnt from the new set but i only recently crafted a copy of fable of the mirror breaker, so I put that in as well.

oh uhm . when i can actually look at myself without feelin sorta bad is pretty good? like . i shaved recently and after a while of neglecting that it feels Loads better to see my reflection yknow? so uh. when i look . softer . i guess. is nice. ... I really need hormone meds huh?

i was gonna say my friends bc like . obviously? but that still is a cheat answer bc duh of course my friends make me happy? love yall! so instead I'll mention,, i finally started reading gideon the ninth recently? and? its really good so far? ive only read like two chapters but im havin a good time w/ it. Totally gotta keep reading soon.

[traincat]

Can you explain the fantastic four volumes? Why are they separated like that, are they different continuities, should i read them all, who wrote which, and such? They‘re very confusing to me

Welcome to the terrible world of comics renumbering, aka the reason we have volumes. The long and short of it is, at some point, the big comics publishers got it into their heads that more people would buy their comics if they had easy jumping spots, the logic behind this being wouldn't it be more friendly for new readers to pick up an issue #1 than an issue #389? Which, sure, in theory, until you have, for example, six different Fantastic Four #1s, some of which were published very close together, and then no one knows at first glance where the hell they should start. But Marvel persists in this practice anyway because for some reason they think that one of these days it's actually going to work. So yes, unless otherwise noted -- because volumes are a publishing quirk and not a specific continuity quirk, so for example something like Spider-Gwen, which until recently took place out of the main continuity, has multiple volumes -- they're in main continuity, with the notable exception of Fantastic Four v2, kind of. I'll get to it. As to who wrote what, it varies -- some volumes have a ton of writers on them, some only have the one, like Fantastic Four volumes 4 and 5. It kind of depends on the length of the volume. Should you read them? It depends on if you're looking to be a completionist or not. If you're still confused, that's because it's unfortunately a feature of this particular system, not a bug. It is not a new reader friendly solution to having a huge series with hundreds upon hundreds of issues, despite the fact that Marvel just will not stop doing it.

If you look at most long running Marvel series, you'll probably note that most of their "volume ones" are actually extremely long -- Fantastic Four v1, for example, lasts from issues #1-416. The first renumbering takes place in 1996, and this one kind of has a good reason behind it. In the mid-90s, Marvel was, how can I say this nicely? A complete dumpster fire, and I don't mean from a storytelling perspective. In 1996, Marvel temporarily outsourced production of two major titles -- Fantastic Four and the Avengers -- to the studios of former employees Jim Lee and Rob Liefeld. This outsourcing took the form of what appeared to be a "hard reset", especially for the Fantastic Four, who during v2 got an updated '90s origin story with updated '90s costumes and updated '90s personalities, essentially brought back to the beginning of their continuity without memories of their previous iterations. This is because, as it was later explained, though the Fantastic Four and the Avengers seemed to die in the main continuity, they were actually sheltered in a bubble reality by Franklin Richards. It's. You know. It is what it is. So essentially, volume 2 of Fantastic Four (1996) takes place in a separate continuity -- you can skip it and not miss much. Volume 3 (1998) picks back up in the main continuity when the Fantastic Four return to their own continuity and try to pick their lives back up while the world has moved on without them. It's VERY good, from a characterization standpoint -- a lot of volume 3 is written by Chris Claremont, who handles all the characters with an extreme amount of nuance. From a plot perspective -- I mean, it's totally fine as long as you don't care about anything making sense ever. Claremont was not here to write a coherent plot; he was here to write extremely an extremely insightful and sensitive Johnny Storm, and I applaud him for that.

This is where the numbering gets messy again, though! Because you know what looks really dramatic on the front cover of your comic book? A big ISSUE #500. So when volume 3 was approaching what would be, in what's called legacy numbering, issue #500, they switched the numbering again. Fantastic Four goes from Fantastic Four v3 #70 straight to Fantastic Four #500. There is no Fantastic Four v3 #71, something that can be confusing for new readers who are JUST trying to follow a book from issue to issue. From my perspective, I'm generally in favor of a return to legacy numbering, because it really is so much simpler to just have whatever number the issue actually is on the cover instead of having to be like "Fantastic Four issue #499 is actually Fantastic Four v3 #70." But Marvel hates simplicity! Loathes it! We need more new readers! Who definitely will pick up anything labeled #1 and not worry about THAT WHOLE MESS behind them! So while Fantastic Four retained the legacy numbering for 88 issues, it soon switched things up again when the entire title of the book was renamed. When Johnny dies in the Negative Zone in Fantastic Four #587, the book was renamed from Fantastic Four to FF (just the initials) to reflect the change. This is a creative decision that I don't personally hate -- I think it makes its point well -- but also it really makes this entire period of Fantastic Four hell to read when the book comes back with Fantastic Four #600 after 12 issues of FF, but the FF title also remains, and the two are supposed to be read interchangeably at that point. Good luck figuring out how that one's supposed to go on first glance and thanks a lot, Marvel.

After Hickman's run wrapped up with Fantastic Four #611, Marvel entered a period where it was relaunching a lot of its main series basically every year. This is why there's a Fantastic Four v4 (2013), closely followed by Fantastic Four v5 (2014). These are basically one writer brief runs that are encapsulated in their own volumes for very little reason, especially since towards the end of Fantastic Four v5 it reverts to legacy numbering once again, with the last four issues of the run being Fantastic Four #642-645. Congratulations, nobody could have thought of a worse system. Then there came the three year Fantastic Four publishing ban (a real thing that happened) and when the book relaunched in 2018, it was with Fantastic Four v6, which is still using its own numbering, with issue #36 just released. It's essentially like that scene from Pacific Rim about how the kaiju keep coming faster and faster, except, you know, with comic book runs.

So here's a very basic reading order: Fantastic Four #1-416 -> Fantastic Four v2 #1-13 -> Fantastic Four v3 #1-70 -> Fantastic Four #500-588 -> FF #1-12 (at which point FF separates into its own book with three separate volumes) -> Fantastic Four #600-611 -> Fantastic Four v4 #1-16 -> Fantastic Four v5 #1-14 -> Fantastic Four #642-645 -> Fantastic Four v6 #1-36.

That brings you up to the present, not counting series like Secret Wars (2015) which slots in between #645 and Fantastic Four v6 #1, or things like annuals, which are issues published sometimes annually that may be standalones or may be important to the main plot, you can never be sure. Comics are terrible.

As for whether or not to read all of that, like I said above, it kind of depends on you as a reader, whether you're a completionist, whether you bounce hard off certain decades or creators, etc. There's really no one right way to tackle a comic series that spans 681 issues and six decades, especially not when the publisher doesn't exactly make it easy for anybody to keep track of what exactly they're supposed to be reading next. I do hope that clears up some of the confusion for you, though, even though the truth is the way a lot of American big two comics are published are, very simply, in an incredibly confusing, extremely new reader unfriendly, archaic way.

[ladymaigrey]

Enneagram and DD/Defenders – Part 2 – Matt the Reformer

Find all the posts in https://ladymaigrey.tumblr.com/tagged/enneagram (or go to my blog and look for “enneagram” tag)

gif courtesy of @dead-fandom-support-group​ (see her other enneagram gifs here)

TL:DR – The Reformers are perfectionistic and idealistic, with strong drives to “do good” and little patience for any perceived failure. Quick to anger and guilt-prone. Certain, stalwart and arrogant on the outside, they question themselves on the inside: are they actually “good”? are they sure they are right?

When under stress, they can become narrow-minded, self-centred and dramatic (movement towards Type 4 - Individualist).

For balance, they need to learn how to relax and let-go a bit - let the world spin on its own for a little while (acquire some characteristics from Type 7 - Enthusiast).

Matt: in addition to fitting Type 1 description (and often going towards Type 4), also has some characteristics from Type 2 – Helper, particularly the tendency to put the needs of other’s before one’s own, to the point of martyrdom.

The Reformer - in general

The Reformer has a strong value system about what is right and wrong and is quick to judge themselves and others in accordance to these norms. They are perfectionistic, but practical. They struggle to tolerate ambiguity or subjectivity, preferring objective facts and categories. They like to plan, organise, control, impose order over chaos.

The Reformers are their own harshest critics. They can be quick to anger if they see themselves or others falling short of their ideals. Yet anger often causes guilt, if they believe that a truly “good” person should not get angry. Therefore, anger is often suppressed out of conscious awareness. Still, it tends to come out in expressions of righteous indignation, sarcasm and guilt.

They are quick to argue, moralise or instruct – because they Know How Things Are Supposed To Be. Yet, internally, they are often worried that they are wrong, that they are not Good. Although they may question themselves on the inside, outwardly they will struggle to shift from their position because admitting they are wrong is too threatening to their idealised self-image.

The Reformers are over-responsible. At extreme, they can get burned out with carrying their unrealistic “shoulds” and “musts”. They struggle to relax and have fun.

According to Wagner (1980, p. 60) “They identify with St. George slaying the dragon, crusading to make the world a better place to live in.”

Research participants identified (or identifying) as Type 1, also tended to have high Conscientiousness (Big-5) scores and high Sensing (S), Thinking (T) and Judging (J) scores in MMPI test.

Matt the Reformer 

Judging on the basic outline and, particularly, that St George quote, Type 1 fits Matt well.

His definition of “doing good” is to defend the little guy against injustices and stand up to the unjust strong and teach them a lesson. He is perfectionistic, highly conscientious and disciplined when it comes to his goals - a legacy of his Dad’s insistence on academic diligence, Stick’s drilling, and his internal drive to protect and see justice done.

He is very certain of his direction on the outside, defending his position with a bull-headed obstinacy to rival the Punisher, but he questions himself on the inside. He is often plagued by worries that he is not, in fact, “good” or “just” at all – worries that he most likely internalised from his childhood, from those who admonished “Be careful of the Murdock boys, they have the Devil in them.” Therefore, he feels like he must forever prove his goodness to himself.  He is over-responsible to a ridiculous degree, taking it as a personal goal to prevent all injustice he “can” (i.e. that he is within an earshot of, and his earshot is looooong). Whenever he “fails” - guilt and rage follow. Rage (and violence), in turn, feed into his guilt and self-doubts about being “good”. Sometimes it seems that he is more guilt-ridden than an old farmhouse is ridden with termites.

For all of Type 1s’ practicality and need to control, when it comes to pursuit of goals and facing threats, they tend to make decisions instinctually, based on the product of their perceptions and gut-response. Matt Murdock is an allegorical embodiment of this concept. He responds to what his senses tell him – responds immediately and, often, drastically, without pausing for thought or communication with significant others. For type 1s (and other “gut” types 8 and 9), this often stems from the belief that “life is a battle, and their weaknesses must be tested��� (Zuercher, 1992, as quoted in Hook et al., 2020), and THIS IS THE MOST MATT-DESCRIPTIVE STATEMENT I’ve ever read in a peer-reviewed psych article!

In addition to Type 1 characteristics, Matt shares some Type 2 characteristics (in Enneagram parlance, that would make him a Type 1 with a Type 2 wing). Specifically, Matt seems to take pride in denying his own physical and safety needs in order to meet the needs of others, as per his self-imposed responsibilities. This type of martyrdom is more characteristic of Type 2s (Helpers). At the same time, the occasional over-the-top drama that goes with that martyrdom is characteristic of Type 4 (Individualists).

Although, to be fair, it is always difficult to judge psychological state purely from behaviour. So, it is debatable whether his tendency to put his needs last is driven more by his Type 1 perfectionism (i.e. his internal need to do “good” overpowers his other basic needs), or his Type 2 martyrdom beliefs (i.e. the belief that his suffering is immaterial, and even required, in the face of the suffering of others, and that he only matters when he helps others). As @ceterisparibus116 and I discussed sometimes ago, it seems that martyrdom tendencies tend to raise their head when he has faced some kind of “failure” or setback - when he is feeling low regarding his life and identity. At such times, it is perhaps a heightened need for self-sacrifice – to prove his goodness and worthiness through meeting the needs of others to the detriment of his own - that may contribute to some of his more painful (and draMattic) physical excesses.

Then again, human psychology is a mudbath and it is never clear which rising bubble is driven by which underlying motivation.

(As an aside, I do think that the DD-fandom (myself included) has embraced the Type 2 martyr!Matt more than the canon actually suggests. He is often written in fics as forgetting or forgoing his basic needs (including food, sleep and medical care) in order to constantly give of himself to others. I wonder if, on some level, it reflects the real-life tendency to react to Type 2s – the “humble” Helpers – in a more positive or warmer way than the “arrogant” Type 1 do-gooders.)

Anyway.

When faced with crisis and failures, Matt does tend to move towards Type 4 (Individualist), as suggested by the Enneagram theory. He becomes dramatic in his sense of uniqueness and messiahnism; also – self-isolating, liable to be impulsive and making self-destructive decisions. His thinking narrows down myopically to the sole pursuit and defence of his goals. Although his goals as Daredevil revolve around “saving” others, being Daredevil is a large part (if not the whole) of what defines his life’s meaning to him. Therefore, his narrow focus at these times of high stress, and his prioritisation of Daredevil’s goals above the feelings and goals of significant others, is suggestive of a strong core of defensiveness/self-protectiveness. The righteousness of his aims is, in part, a psychological mask; it is a demand for others to excuse his poor relational behaviour on the basis of the specialness of the burden he chooses to bear.

That is not to imply that, when Matt stands up for his identity and his goals to his friends, it should only be regarded as a sign of self-centredness or depression! Telling those, who persistently refuse to accept someone’s truth, that ‘this is who I am’ – as he does to Foggy in Seasons 1 and 2 – can be a sign of positive self-regard and self-esteem. Similarly, when Matt gravitates towards the Type 4 Elektra and attempts to embrace some of her ideals of putting personal wants before duty, it is driven by a healthy impulse to balance the obsessive nature of his goals. Or, at the very least, to share the burden.

Matt is also capable of behaviors that, according to the Enneagram, balance some of the unhealthy extremes of his Type 1 characteristics. Although he is serious and driven most of the time, he is also capable of relaxing and having fun (which is a type 7 characteristic – the balance archetype for Type 1s). Although Matt is perfectionistic, it isn’t driven just by guilt and fear - he also wants to reach his targets (e.g. excelling in law school) for the sense of achievement it gives him (which is a Type 3 trait). He practices some mental and emotional self-care, leaning into the benefits of meditation which, at least in theory, should allow him to switch off from his over-thinking and judging, and simply be touch with his internal sensations without reactivity.

Finally, I think the fact that Matt doesn’t totally disavow his anger but, instead, finds a productive release for it while punching crime in the face, is overall a healthy(-ish) impulse. His anger has a specific role in his goals. Therefore, he has, at least partially, solved the dilemma that plagues Type 1s, i.e. that their anger means they can’t truly be “good”. Only partially though, as he certainly still has plenty of self-doubts and internal guilt trips (see the “why did God put the Devil in me” conversation with Father Lantom in Season 1).

Wagner (1980) advises that, in order to achieve psychological balance and free themselves from the overwhelming perfection of their world-altering goals, Type 1s need to learn that,

“The universe is not perfect, yet, but it is unfolding as it should. Be patient, God isn’t finished with me, yet.” (p. 113) 

To me, this advice seems similar to the idea of the Tapestry that Father Lantom spoke of to Matt (see conversation between Matt and Sister Maggie in S3e13). Enneagram, being theistic in its origin, makes many allusions to the perfection of the Process by which the world works and of the Divine Thought guiding it. This axiom states that all moments and all creatures within this process are perfect in themselves and in their place. Perceptions of imperfection come from the Ego, which is of the mind, not of the Divine original essence. Serenity – the lost virtue of Type 1s – comes from trusting the perfection of the process and the Divine Love guiding it.

By the end of Season 3, Matt appears to have made some steps towards accepting this premise. At least - intellectually. Maybe.

References

Wagner, J.P. (1980). A descriptive, reliability, and validity study of the Enneagram personality typology (Doctoral Dissertation). Retrieved from https://ecommons.luc.edu/cgi/viewcontent.cgi?article=3108&context=luc_diss

Zuercher, S. (1992). Enneagram spirituality: From compulsion to contemplation. Ave Maria Press.

[sapphiretarot]

Happy Beltane! Happy May!

Your Love Life in May!! 

Pick a Card Reading!!!!!

DM me for personalized insight!! 

Option 1 - Tiger’s Eye

Hi Option 1s!

Let’s see what the cards have in store for you this month! It looks like you were recently in a situation which didn’t quite get off the ground. You had really high hopes for this person/relationship, but as things progressed, you began to see that everything was not what is seemed to be in the beginning. Maybe you noticed the two of you were incompatible, but something just started to really turn you off. You’ve been left feeling disappointed after this situation didn’t turn out to be what you wanted it to be, but this new strong energy which is coming through at the start of this new month seems to be coming in for you and your love life as well.

The Lovers card showing up clearly says that despite the stagnancy and disappointment you’ve been experiencing in love, you are about to be blessed with both a new love for life, and a new connection with another person! “New Love” from the Romance Angels Oracle Card Deck is also clearly showing you that a new person is entering your life. This person is going to give you the commitment and stability you seek. It’s likely they will be an earth sign or could have a strong earth influence in their chart. They may be going through some challenges with finance and career right now, but the relationship you two forge is only going to inspire your future partner to recognize their own abilities, and to succeed in their career. You two will enjoy a lot of prosperity together.

Option 2 - Rose Quartz

Hi Option 2s! Let’s see what the cards have in store for you this month! The four of swords tells me that you recently let a situation go. You felt as though you weren’t being treated as you should, and valued for the amazing person that you are, so you let this person go. Good for you! This has led you to a time which might be a bit boring in your love life, but at the same time it’s extremely peaceful. You are turning in toward your self, focusing on your own journey, on self-love, and on your coin! This is a time which although may be difficult, is going to be very beneficial for you in the long run. The Page of Cups reversed tells me that this person you let go of may try to come back into your life. They may just send you a text, or start calling. They’re going to say things which they believe will get your attention, or maybe even get you to come back to them. I strongly urge you to brush off these desperate texts for what they are, and keep on your path. The cards are telling me that although it will be difficult to do this, and those texts will stir old emotions which make you nostalgic for this old connection, you are going to make the right choice and keep it moving! This is because you are in a place of self-love and self-respect, and you know you deserve more than what this person, this connection can offer you. It can be sad to walk away, but you’re only moving on to better things.

“Release your ex” from the Romance Angels Oracle Cards is also clearly telling you that it’s time to let go of the past.

Right now you are on a self-love journey and you’re honestly doing great on your own. This is some time just for yourself that you really need. When you do meet a new person, which may be sooner than you think, it’s going to really surprise you! They’re going to switch up your ideas about love and relationships for the better! They may be an air sign or have a strong air signature in their chart.

Option 3 - Amethyst  

Hi Option 3s! Let’s see what the cards have in store for you this month! The Ace of Cups showing up first is a hugely positive sign. This card is telling me that you’re in a relationship which is very positive and fulfilling, perhaps even meant to be. However, the two of you have been experiencing some difficulties lately. The 7 of Wands is telling you that this is a time in which you have to work for your relationship. It feels like you’re just going through constant struggling and fighting, but if you choose to and put in the effort, the two of you will come out on the other side of this. The Page of Wands lets me know that your partner may reach out to you, trying to discuss the problems and fix things. This could lead to more fighting, but at the end of the day you both want to make things work, so there is absolutely the possibility to have this outcome.

The “Forgiving and Learning” card from the Romance Angels Oracle also tells me that your relationship is one which is worth fighting for! Try to have more compassion and understanding in your relationship, and look inward to see if any of these fights are due to internal issues and fears.

You could be dealing with a water sign or someone with a lot of water in their chart, or that could be you!

Option 4 - Clear Quartz

Hi Option 4s! Let’s see what the cards have in store for you this month! Seeing the Two of Wands here combined with the reversed 5 of Cups lets me know that you may have been in a serious relationship in which you were played or let down in some way, and it left you hurt and embarrassed. This unfortunate situation was actually just a lesson for you, and you are going to come out of it more independent emotionally, financially, etc. You are also going to understand better what you are and aren’t looking for from a partner, and be more able to recognize red flags when they come up. This journey you’ve been on is actually going to bring you to find the one soon. Your relationship could become serious quickly, or you may even get engaged soon as the Lovers Romance Oracle card suggests.

Your new partner may be an air sign or have a lot of air in their chart.

[nerianasims]

Billboard #1s 1970

Under the cut.

B. J. Thomas – “Raindrops Keep Fallin’ On My Head” -- January 3, 1970

Everything's going wrong, but he's not gonna cry or complain, because he knows things will turn good before long. Meh. I dunno, it's a bouncy song, sung well, but I've never liked the whole smile your way through everything awful ethos, and I really fucking hate it right now. See: Pandemic, and Trump's response to it. And so a song I was fine with last year now infuriates me.

The Jackson 5 – “I Want You Back” -- January 31, 1970

I'm skipping every Jackson 5 song. Little kids singing love songs for money and fame is bad enough, and I never liked any of these songs for that reason. But add in the baggage of what Michael Jackson did later, and how much did that have to do with him being forced into this position when he was a little kid, and I'm done. Let a child psychologist handle this. I'm not equipped.

Shocking Blue – “Venus” -- February 7, 1970

It's supposed to be "The goddess on the mountaintop," as anyone who heard the later Bananarama cover a whole bunch knows. But Mariska Veres is Dutch, and she sings "godness on the mountaintop" instead. Also Venus was technically on a mountaintop I guess, but I associate her more with a giant clamshell in the sea. I'm nitpicking. The song's got a great groove and Veres' voice is perfect for it. It's good.

Sly & The Family Stone – “Thank You (Falettinme Be Mice Elf Agin)” -- February 14, 1970

I always thought this chorus was "Thank you for lettin' me be myself again." I'm not sure what the actual spelling is trying to communicate. I only just learned what the song is actually about: How the pop music industry sucks. I think. The only totally clear line is "Dyin' young is hard to take, sellin' out is harder." So maybe the spelling is a sarcastic jab at how no one is letting him be himself. But with the funk dancing beat, and the only lines that sound clear not actually being what they sound like, it's still not more than a really great party song.

Simon & Garfunkel – “Bridge Over Troubled Water” -- February 28, 1970

If I were a music critic, I'd get in trouble for this one. Bridge Over Troubled Water bores me to tears. It makes me feel like I'm stuck in glue. Aretha Franklin's rendition is significantly better, but I still don't like it. It's a nice sentiment and all, but I'll take the Four Tops for the same idea done far better, thanks.

The Beatles – “Let It Be” -- April 11, 1970

I hate toxic positivity. However, I very much like calming down and detaching from things you cannot control. The latter is what this song is about. It's about "Mother Mary," which obviously sounds like Jesus' mom, but it's actually about Paul's mom, who died when Paul was 14. When he was going through a tough time as an adult, he had a dream that she came to him and told him "let it be." John Lennon, being a dick as he so often was, didn't like the song, and called in Phil Spector to put massive layers of production in it. Later, Paul released "Let It Be... Naked," which was his original vision for the song. It's far better.

The Jackson 5 – “ABC” -- April 25, 1970

Pass.

The Guess Who – “American Woman” -- May 9, 1970

This song pisses me off. Obviously it's an entire song insulting American women, and as an American woman, I am not pleased, not that The Guess Who would care. And of course it's metaphorical, but why the fuck are American women the ones getting blamed for war machines? Because women are blamed for everything, that's why. Oh and also the song is incredibly repetitive, so even if it were a song about how great American women are, I would not like it.

Ray Stevens – “Everything Is Beautiful” -- May 30, 1970

There's a mob of small children, hide! That is my reaction to the beginning of this song. Past that -- okay, yes, everyone is beautiful in their own way. This song isn't though. It's the gloopiest of Christian "rock" before that was even a thing. It makes me shudder.

The Beatles – “The Long And Winding Road” -- June 13, 1970

Phil Spector splooges all over another Paul McCartney song. I never cared much for this song before I heard the "Naked" version, which gives me chills. How could anyone not open their door to this? But when it comes to the official single version, I'd tell him to take another trip around the block while I thought about it.

The Jackson 5 – “The Love You Save” -- June 27, 1970

Pass.

Three Dog Night – “Mama Told Me (Not To Come)” -- July 11, 1970

The lyrics are about how scary parties are. Which, um, yeah. Especially that cigarette part; I've always been drastically allergic to cigarettes, so that my parents had regular parties when I was a kid was really bad. I'm glad that people were going outside to smoke by the time I was in college. But the song. It's a party song in which the narrator hates parties. Pretty fun.

The Carpenters – “(They Long To Be) Close To You” -- July 25, 1970

Karen Carpenter's voice and singing ability were astounding. It's one of the great tragedies of music that she didn't get better songs. I do like this one, though. Yes, it's ridiculously sweet. But it has a beat and forward motion -- it's slow, but not turgid. The piano is nice. And, of course, there's Karen Carpenter's gorgeous voice, the most important thing about the song by far.

Bread – “Make It With You” -- August 22, 1970

Bread is wonderful. I love bread. But not the musical group Bread, which is like stale Wonder Bread rather than a delicious foodstuff. 70s easy listening managed to make sex sound boring. This song is one of the worst in that regard. If sex were like it seems to be in this song, I'd rather scrub grout.

Edwin Starr – “War” -- August 29, 1970

"War/ I despise/ It means destruction to innocent lives." Exactly. To say I love this song doesn't quite cover it. The song is the absolute truth, that's all.

Diana Ross – “Ain’t No Mountain High Enough” -- September 19, 1970

The narrator's been dumped but whenever her ex needs her, she'll get to him any way she can. This version takes too long to get started, and then Ross speaks the verses instead of singing them. I don't like it at all. Give me Marvin Gaye and Tammi Terrell's version instead, which also sounds like the narrators have a much more equal relationship.

Neil Diamond – “Cracklin’ Rosie” -- October 10, 1970

The song sounds like it's about a sex worker. It's not. It's about cheap wine. Also it's Neil Diamond. It's not boring, and I don't hate it, but I can't say I like it either. It's just sort of there.

The Jackson 5 – “I’ll Be There” -- October 17, 1970

*shudder* Pass.

The Partridge Family – “I Think I Love You” -- November 21, 1970

It starts in a minor key, waking up and suddenly realizing "I think I love you." But the narrator isn't quite ready to accept it. It's about a first love, and about how confusing the feeling is. Also there's a harpsichord. At the end, the narrator is asking if you think you love him too. I like it.

Smokey Robinson And The Miracles – “The Tears Of A Clown” -- December 12, 1970

He's pretending to be happy in public, but he doesn't want the woman who left him to think he's anything but miserable after she left him for some reason he doesn't know. He name-checks Pagliacci. Great Motown song. (The B-side of the single was "I Second That Emotion," which I like even better.)

George Harrison – “My Sweet Lord" -- December 26, 1970

Oh, George. I actually like his solo career better than that of any of the other Beatles, but his first big smash is not good. First, the melody is plagiarized from The Chiffon's "He's So Fine." Not inspired by or similar to or any of the other bullshit musical artists are getting sued over these days. It's a straight-up rip. George said he did it accidentally, and that absolutely can happen, but in this case I'm doubtful. The Beatles covered a whole lot of girl group songs at the beginning of their run. George knew girl groups. Second, he slowed down the melody, and so it is too slow, especially if you already know "He's So Fine." Third, it's about wanting to "know" some non-denominational New Agey all religions are really one religion type "Lord." That's a philosophy that I find confused at best. Very bad.

BEST OF 1970: "War"   WORST OF 1970: "My Sweet Lord"

[iwbfinterviews]

Jake Brown Interview

When did you first realize you wanted to be a writer? Is there a particular reason you chose to write about music, singers, etc?

I didn’t actually, lol.  I’m a songwriter/producer first, I grew up playing and writing music but always wrote as a way to kind of get through school because I was terrible at math, sciences, tests, etc.  I think there’s alot of people in the music business who started out like that.  It kind of happened accidentally, I was working for a record label right out of college and started writing copy for their catalog titles, press releases, etc and it just expanded from there.   I met a literary agent through that who suggested I try to write a book, and we sold the Suge Knight memoir to Amber Books, who gave me my start.  Another big early foot in the door moment was when I had the opportunity to write books with Ann and Nancy Wilson & Heart in 2007 and in 2009 with Lemmy Kilmister and Motorhead.  Then the book nearly 10 years into my career that really kind of made me appreciate this career was the opportunity to work with legendary guitar player Joe Satriani on Strange Beautiful Music: A Musical Memoir.  I’d also started specializing in anthology-style books that feature LOTS of exclusive interviews in one book in chapter profiles so you could tell a bunch of people’s live stories at once, including the BEHIND THE BOARDS series, which began 10 years ago as a Rock & Roll producers’ series, the aforementioned In the Studio series with Heart, Motorhead, and others, and then finally about 10 years into living in Nashville I began working on the NASHVILLE SONGWRITER book series and most recently the BEHIND THE BOARDS: NASHVILLE book.  SO: the long answer to that question is, because I love telling the behind-the-scenes stories of both the hits and those who make them, be it songwriters or producers or drummers in the case of the BEYOND THE BEATS rock drummers series, or Hip Hop producers with the DOCTORS OF RHYTHM audiobook and upcoming physical version in 2021.  I’ve also been fortunate to write memoirs with some interesting characters like Kenny Aronoff, country rapper Big Smo and upcoming Freddy Powers The Spree of ’83 book which features Merle Haggard and Willie Nelson.  So it's been an interesting run.

How long does it take you to write a book?

I work on several at once usually, that’s kind of my process, half day on one, a day on another, but for BEHIND THE BOARDS: NASHVILLE, I spent 4 straight months day in and out writing this book exclusively as it was over 600 pages.  I was reading the audiobook for Blackstone as I was writing it too, which was the first time I’ve ever done that.  Usually the audiobook is read after the book is completed.  Then it’s about a month of editing before its handed into the publisher.  So this was a real push, but it was worth it because of the feedback I’m getting first from the producers I worked quite extensively in many cases with on their individual chapters, and collectively in the book being a first of its kind for country music fans where they can read about how their favorite hits by country’s biggest stars were made while listening along on Spotify, iTunes, Tidal, etc.

What would you say is your interesting writing quirk?

Oh, I don’t know... I write every book thinking from the outset before I’ve even started putting words down to paper thinking about how that book will be marketed and promoted upon release.  There’s no point in writing something no one is going to read because when you get to the finish line you don’t have a gameplan on how to make readers aware of it.  Publishers, to be honest, can only do so much in that arena, every publisher’s publicist is usually like a social worker with 30 cases on their desk, so yours can only get so much attention.  So for instance, I always recommend to a writer to hire a great publicist and know that while that’s a considerable expense, it may be the best money you spend in getting the word out about your book because that publicist is working for YOU, not for 30 authors at once.  It's just a fact of the business that I think should get more light shed on it because you’re competing with that number I  mentioned above of 60,000+ books a YEAR coming out.  I also negotiate the right to press my own promo runs of 100 if needed because if not, you’ll wind up with a paltry 10 copies from the publisher, who for their own budgetary reasons, might not for instance be able to service all the physical review copies you’ll have to give away during the book’s promotion, whether to a disc jockey interviewing you on the air or the listener he or she is giving away a free copy to during that broadcast, as just one example.  If you don’t plan ahead for that, you’ll wind up paying that publisher $6 or $7 per promotional copy, which is something I’m SURE some of my own publishers would hate for me to pull the curtain back on, but its true.  Writers are paid LAST usually in the royalty chain, especially early on, but you move up in that order as you build a value into your name as a writer, which only comes with people hearing about you and your book.  So again, HIRE A PUBLICIST, HIRE A PUBLICIST, HIRE A PUBLICIST!  Your agent can be helpful too, but its typically up to you as an author to maintain your own social media presence and look for every available avenue to spread the word about your book so it has a chance to be read.  This is equally important for newer or more established writers, because there’s always a new generation of equally-as-talented new wordsmiths knocking on those publishers’ same doors... 

What do you like to do when you're not writing?

In a studio making music or writing books for the various publishers I work for, or recording audiobooks for Blackstone Audio, so it’s pretty time-consuming.  I did just sign a worldwide music publishing deal for my songwriting catalog with Streets Music and David Gresham Company.  So I’m lucky to stay busy, to be honest, you have to too make a living in the entertainment business.  I have a wife and a dog too, so I spend what time I have left with them. ☺ 

Your 50th book is coming out June 23rd, “Behind The Boards: Nashville”. Can you give us insight on what it will be about? 

First, I exhale deeply every time I get asked that because it's finally DONE!  I spent 2 years collecting extensive, first-hand – many for the first time in a book – interviews with 30 of country music’s biggest producers, and in some cases, that meant waiting for a break in their busy studio schedules to talk, in others it meant multiple conversations over a couple years as we wanted to make sure we had all their current hits as they kept banging them out, and in other cases, because of the sheer volume of their catalog – some of these guys have been in the business since the early 70s – it took that long to chronicle it all.  That’s just the interview process too, then I had to write it and I write everything in one shot vs. a chapter here and there.  Its to me like staying in character as an actor throughout an entire performance, and when you’re writing a book like this, you’re in a headspace that never lets you sleep because creative narrative is CONSTANTLY hitting you about specific hits, and there’s over 300 # 1s in this book.  Additionally, there’s an EXHAUSTIVE amount of research I do to source out certain critical quotes of praise, for instance, from way back in the 80s, 90s, early 00s, etc from magazines that aren’t even in print anymore, as well as supporting quotes from the actual superstars these producers work with in the studio, which also takes a great deal of time.  So after all of that prep, once you begin writing, there’s another 3-4 months before the manuscript comes to life as a finished product.

As a result of that, country music fans here are given arguably the MOST definitive to date book chronicling the stories behind the making of their favorite hits in the studio, again how those artists specifically and uniquely work at their craft – i.e. does George Strait sing each hit over 3 or 4 vocals or 25 or 30 takes, etc – as well as how specific # 1s within those individual catalogs of Greatest Hits were created in the studio.  Then from the other side of the boards, so to speak, you get the producer’s first-hand recollections of their own personal journeys from the time they could first crawl and walk and started discovering music to their teenage bands and first tape-recorder or 2-inch reel to reel or 4-track or laptop home recording sessions all the way up through their rise to become the biggest names in the business working in country music today.  

Collectively, BEHIND THE BOARDS: NASHVILLE features Dann Huff, James Stroud, Jim Ed Norman, Dave Cobb, Justin Neibank, Ross Copperman, Zach Crowell, Chris Destefano, Jesse Frasure, Norbert Putnam, Josh Osborne, Luke Laird, Clint Black, Frank Liddell, Shane McAnally, Jimmy Robbins, Josh Leo, Nathan Chapman, Paul Worley, Jeff Stevens, Jody Stevens, Bobby Braddock, Michael Knox, Don Cook, Frank Rogers, Joey Moi, Ray Baker, and Buddy Cannon, who did the Foreword, which was a TRUE honor.  Frankly, it was an honor to have every one of these legends speak to fans so candidly and openly about both their personal and professional lives in the music business.  Their stories are inspiring, ear-and-eye-opening, exciting, insightful, and hopefully educational for those kids growing up on their records now hoping to break into the same business.  So hopefully, there’s something for everyone who opens the book.

What were the methods you used to get ‘the’ interview with all the big names you’ve written about?

When you’ve been around this long, fortunately you can get in touch with just about anybody, whether they say yes or not to the interview is another story! (laughs)  But I’ve been pretty lucky, especially for instance with my NASHVILLE SONGWRITER book series, which has TWO volumes and 50 of the biggest songwriters in country music in the first two volumes, and a THIRD volume with another 30 legendary songwriters coming out at the end of 2021, and especially with BEHIND THE BOARDS: NASHVILLE, which has 30 of the most legendary record producers in country over the past 50 years, guys like Norbert Putnam, who ran Quad and produced Jimmy Buffet’s “Margaritaville,” Jim Ed Norman, who produced Hank Williams Jr’s Born to Boogie album, Ray Baker, who produced that whole 70s Honkytonk soundtrack including Moe Bandy, Whitey Shafer, and Merle Haggard and Freddy Powers among others.  Then you have the Millennial generation’s biggest names like Joey Moi, Dave Cobb, Dann Huff, Jesse Frasure, Ross Copperman, Shane McAnally and Josh Osborne, Ray Riddle, and on and on.  

What do you think makes a good story?

Well, for this book, the most common thread woven throughout many of the chapters/live stories of these producers were the long-term working relationships they’ve  maintained with many of country music’s biggest stars throughout their entire careers or the majority, for instance, Jeff Stevens and Luke Bryan, Byron Gallimore and Tim McGraw, Buddy Cannon and Kenny Chesney, Michael Knox and Tony Brown, Frank Rogers and Brad Paisley, Miranda Lambert and Frank Liddell, the list goes on and on as long as the Greatest Hits track listings do.  Equally as importantly for a book like this, is the fact it takes the reader quite literally inside the studio and pulls back the curtain on how their favorite country music stars record their biggest hits, and almost literally re-creates their recording from behind the boards by the producers interviewed.  Then on a totally separate front, from the academic side, its a 600-page book full of tips about how the recording process works from all sides, points of views, approaches, ages, and technologies, old and new, from analog to digital and the hybrid of both in the “in the box” generation of record making.  Hopefully, we’ve covered all sides of the process, that was the aim anyway so readers get a 3-D look, so to speak, at how the recording business really works.  

How did publishing your first book change your process of writing?

I sold my first book to my first publisher, Amber Books, in 2001 and Tony Rose gave me my start in the business and I wrote for them almost exclusively for the first 5 years and 10 books of my career from 2002 to 2007.  So having a stable and still exciting publisher willing to take chances on you and equally-as-importantly, the kinds of books you might approach them with, is KEY for any new writer because writers must remember EVERY time a publisher takes a chance on their book, they’re putting real money behind it before they ever see a dime back.  It's a big leap of faith, and carries with it alot of obligations for the author, where it doesn’t just end with handing the book in, but also helping promote it and building a brand for your name so it can become more and more reliable for both readers and new publishers, as any writer’s goal should be to eventually build a catalog where they write for as many publishers as possible throughout their career.  But be prepared to start out writing for one, or anyone for that matter, who you can verify has a good track record as a publisher, or if they’re new to the game, doesn’t just want to put out an e-book, which anyone can do without a publisher, and is willing to commit to a physical pressing, and promotion of that pressing.  I wouldn’t go looking for advances on your first or even necessarily second book out, but start asking for them as soon as possible as its an important piece of the income stream for any working author, as much as royalties are later on down the road.  An advance lets an author know a publisher first can afford to put money into their book, and values them, vs. Alot of these starter deals that promise big back-end but nothing up front.  You have to be able to afford to take that hit once or twice out of the gate, but its not a career model any writer should plan on if they want to make a living as a working author.  The other reason I mention all this is because being a working writer is not just about the creative side of the process, but the entrepreneurial one too, because you have to be a self-promoter, and not be shy to doing interviews or promotion on social media, etc, as you’re competing with a THOUSAND new titles a week minimum these days between all the digital e-books and print books out there. I think the statistic was to be something like 60,000 books published in 2018 alone, so that tells you the competition you’re up against to even get a book sold to a publisher, let alone compete on bookstore shelves for the reader dollar.

What’s your favorite under-appreciated novel?

Of my own books, I wouldn’t say any are underappreciated, I’m grateful for the fact that people still read my books after 20 years and 2 or 3 generations of teenagers (which are a primary part of my reading audience) still buy my stuff.  I try to give them consistently interesting reading subjects, either in the personalities I co-write with – like country rapper SMO, whose memoir My Life in a Jar: The Book of Smo, was released in 2019, or the Freddy Powers Spree of ’83 memoir, which is presently in film development and that I co-wrote a screenplay for with Catherine Powers last year, that was also something different, and say something like legendary R&B producer/artist Teddy Riley’s forthcoming memoir Remember the Times, which we’ve been working on for the past 6 years off and on and is looking like it might be heading to Teddy’s fans’ hands in the next year.  One key thing I tell new writers when asked for input into starting a career in the current climate for our business is be prepared to commit as much time to a book as the artist needs, its similar to an album – if the publisher wants it on a deadline, be prepare to deliver, but getting an artist to open up in depth about their life takes time, both to build trust and to physically take the time to do the interviews not only with them in principle but also with the huge list of supporting cast members between peers in the band and business and family members and friends, record executives, peers, etc that usually wind up on those lists.  It's a process you should NEVER RUSH yourself, only move at the rhythm of the people you work with and for, and you’ll wind up working alot longer in the business than those who are in a hurry.  

How many unpublished and half-finished books do you have?

Haha, I actually have a folder called “Projects That Probably Won’t Happen” and its filled with all kinds of “famous” bands/musicians books that just never got off the ground for one reason or another, but they’re all under contractual deals where I can’t talk about them in case they want to put a book out in the future, and I hope they all do.  Sometimes you encounter someone who is thinking about writing a book but is really 10 years before they’re ready to, or they aren’t really committed yet past the concept, so you do some sample chapter interviews but it never gets past that starting line.  I’ve thankfully left on good terms with the majority of those names, but with 50 published books in my catalog, most of what I have committed my time to has thankfully made it to store shelves.  That’s important for any new writer to remember, because with every new book project you take on, you’re committing a year to two years of their life to that process from the start of interviews through the completion, handing it into the publisher, editing, etc.  Anyone in a rush usually isn’t going to get anywhere is what I’ve found, it takes time, even if your mind is moving a million miles a minute, and your ambition even faster, pace yourself and you’ll last a lot longer in the race I’ve found anyway (cheesy sports metaphor aside ☺).  

Do you read your book reviews? How do you deal with bad or good ones?

Haha, I’ve had some good and bad experiences there over the years.  I have NO problem with a consumer buying my book and then reviewing it one way or the other on say Amazon or Audible, etc, because that’s part of the business, but as far as book reviews from other writers, I just have to hope they like it and write fairly about it as it does matter impressionistically what readers then think of it as a potential product to buy and read themselves.  Sometimes, in walking the fine line I have to be between the technical and the creative in a series like this or Nashville Songwriter or say my In the Studio series, which has over 10 books in it alone, so you never know.  Its something I don’t pay alot of attention to as well because by the time a review comes out, the book has been out a couple months usually and we’re on the back-end of a promotional push, so if its a good review, it's a nice 4th quarter boost of coverage, and if it's not, then it's pretty buried vs. hurting the book’s launch on the front end.  I’m just being honest, sorry, but book reviews play a very MINIMAL role in most books’ launches if they’re properly promoted via author interviews, premier placements as we’ve done with American Songwriter, CMT, SoundsLikeNashville.com and others coming up, and for any newer writer, accept ahead of time that you’re GOING to get a bad review here or there, it's just part of the subjective review process, and doesn’t speak for your larger reading audience.  

Do you believe in writer’s block?

Not when you write for a living.  It's not a luxury I think any of the writers I know who work professionally writing books can afford, that’s why you have to follow the simple rule of A.B.W. (Always Be Writing) ☺.

Where do you see yourself in 5 years?

Probably doing the same thing, writing is how I make a living, so it's will be with me until arthiritis set’s in, but I’ve got 2 screenplays in development and hope to have at had at least one of them produced into a film.  I’m not unrealistic to think that it will go to theatres, but I’d be happy to see a streaming service selection with my name on it as a screenwriter, there’s 3 or 4 of my books fortunately in that cycle right now so we’ll hope one or two of them make it that far.  Beyond that, I’m in the studio every week as I have been the past 20 years making music and will continue doing that, hopefully to a greater degree with these new publishing deals I’ve signed as I have over 200 released songs in my own catalog, none in Country lol, but I just try to keep putting out new creative product across multiple mediums at as prolific a pace as the muse allows without the quality of the end-product being compromised.  That’s the point at which I’d stop I guess, if the quality of the writing lessens to where people don’t want to read my stuff anymore.  Thankfully, I have built up a pretty loyal reading and retail-buying audience over the past 2 decades, and hope to keep putting out books that help music listeners understand how hard and still rewarding a business the record business is.  It's an amazing world to wake up working in every day, and I love helping musicians tell their stories on paper, so we’ll just have to see.  I hope to have hit 60 books by then, although my ultimate goal is another 50 over the next 10 years! (laughs)  Thanks again for your time and support of this latest project!    

[carnwennhau]

God Concept: Erebus, Father of Darkness

Pantheon: Greek Class: Mage Roles: Jungle, Mid, Support

after,,, a while of debate, I’m finally posting the god concept that I’ve been working on since around January! I was directly inspired by @raijinswaifu​‘s god concepts! I really like her work, and it was specifically her Lady of the Lake concept that made me want to try to make a concept of my own. 

This is Erebus, who at first was just a concept, but I became really attached to him and he’s officially one of my OCs haha. Erebus means a lot to me, honestly,, I love him. He’s actually appeared on this blog a few times, here and here. His lore and kit are below the cut.

Erebus is an enigma among the Pantheons. A son of the all-powerful Chaos, Erebus was born as the Primordial Deity and Ruler of darkness and shadows. However, he does not rule alone; Erebus is joined by his dearest Nyx, the Night herself. It was this union that brought many blessings and curses into the world. Day and Light, the Evening and Sunset, Friendship and Affection, and Dreams: these are the Gods of inspiration that were created by the unity of Darkness and Night; however, they are also joined by Gods of malicious intent. Death, Strife, Doom, Trickery, and Misery: these are the Gods that instill fear and bring chaos into the world. It was from Nyx and Erebus that the Good and Evil of the world were created. Erebus loves his children as a father does, despite some of their cruelties. It’s simply in their nature, after all.

Erebus does not engage with the other Gods, outside of Nyx and his children. The Father of Darkness stays in his domain, shrouded in the blackest shadows and nestled deeply between the Earth and the Underworld, a realm that was once his own before it fell under Hades’ rule, safe from the petty arguments and quarrels of the Gods. Erebus may not involve himself with these Gods, but he watches from his shadows. Disagreements, secrets, plans, and alliances among the Pantheons; they all come back to Erebus one way or another, for the shadows are always present during these affairs.

The time of Erebus’s neutrality as come to an end, however. The death of Zeus and the following transgressions of the traitor, Hades, have stirred chaos in the realm of Erebus. The souls of mortals that pass through his realm are not at ease and Erebus will not send them onward to the Underworld, where only chaos and disorder reign true. He does not trust the Traitor to not abuse them. Now, The Father of Darkness emerges from the shadows to join Nyx’s side on the Battlegrounds of the Gods. But Erebus does not fight for Olympus No, he fights to restore order to his realms and to wrench what was once his from the hands of Hades. Once upon a time, Erebus willingly gave up his rule of the Underworld, but the Traitor has since proved unfit to rule. The God of Shadows cares not what intentions Hades had when he betrayed the King of the Gods, good or bad. No, Hades has stepped out of line, and Erebus will be the one to fix his errors and restore order to the Underworld as its rightful king. The Father of Darkness is coming and the Gods best be prepared for his arrival, for nothing can rival the wrath of a Primordial God.

~~~

Passive: Shadow Power For every 75 damage Erebus deals to enemies, he gains 1 stack of Shadow Power (max. 80 stacks). God kills and assists provide 10 stacks. Erebus’s abilities interact with Shadow Power and gain additional effects. If Erebus takes damage from an enemy God while under 25% health and has at least 35 stacks of Shadow Power, Erebus will consume those stacks and dissolve into mist, invisible to all enemies for 2.5s. While invisible, Erebus gains increased movement speed, health regeneration, and damage mitigations. This stealth cannot be interrupted. This effect can only occur once every 120s.

Additionally, while under 40% health, Erebus gains 5% of his maximum Magical Power as additional Magical Power.

Movement speed: 15% Health regeneration: 2.5% of Maximum Health Damage mitigations: 10%

 Ability 1: Rend (Cone) Erebus calls forth the shadows to rend foes in front of him, dealing damage to them. Additionally, enemies hit by Rend take an additional 25 + 10% of Erebus’s Magical Power as damage over 1.5s. 

If Erebus has over 20 stacks of Shadow Power, 10 stacks will be consumed and enemies affected by Rend will also be slowed for 1.5s.

Rend damage: 60/100/140/180/220 (+50% of Magical Power) Cooldown: 12s Slow: 25%

 Ability 2: Virulent Mist (Ground Target/AoE) Erebus releases the dark, deadly mists of his realm. All enemies that come into contact with this mist will have their protections reduced and will take damage over time every .5s for 3s. If Erebus or any Allied Gods pass through this mist, they receive increased protections and a heal over time that ticks every .5s for 3s. 

Additionally, if Erebus has over 25 stacks of Shadow Power, 10 stacks will be consumed and enemy Gods affected by Virulent Mist will also be crippled.

Virulent Mist damage: 20/30/40/50/60 (+10% of Magical Power) Protections reduction: 5/10/15/20/25 Heal: 10/15/20/25/30 (+10% Magical Power) Increased Protections: 5/10/15/20/15 Duration: 5s Cooldown: 15s

 Ability 3: Shadow Charge (Leap) Erebus becomes one with shadows, diving into the ground and dashing forward. Erebus will pass through minions and stop at the first enemy God he comes into contact with, dealing damage to all enemies and rooting the enemy God.

If Erebus has over 25 stacks of Shadow Power, 10 will be consumed and Shadow Charge will root the target..

Shadow Charge damage: 60/110/160/210/260 (+60% of Magical Power) Root duration: 1s Cooldown: 13s  

Ultimate: Eternal Darkness (AoE) Erebus releases his hold over the shadows, giving them free reign to flock to nearby enemies and attack them every second for 5s. Without his shadows, Erebus is vulnerable to the light and his protections are reduced while Eternal Darkness is active. Additionally, Erebus is immune to slows in the duration of this ability.

If Erebus has at least 40 stacks of Shadow Power, 20 will be consumed and Eternal Darkness will ignore 15% of targets’ magical protections.

If Erebus has max Shadow Power stacks, all of them will be consumed instead and Eternal Darkness will ignore 15% of targets’ magical protections and if Erebus takes fatal damage while this ability is active, all enemies in the radius of Eternal Darkness will be stunned for .5s and Shadow Power’s secondary effect will activate whether or not it is on cooldown. It will go on cooldown after this effect ends.

Protections Reduced/Gained: 5/10/15/20/25 Eternal Darkness Damage per tick: 50/70/90/110/120 (+15% Magical Power) Cooldown: 90s Duration: 5s

[notspoondere]

How to Scoop Less: Sky Strikers

I promised I'd make this in a banlist analysis post I never put into a public tag and which nobody remembers, but I'm nothing of not a man of my word.

[This has honestly been sitting in my drafts for months. Nats season has already come and gone. I don’t know how much longer this will be useful for, but better late than never.]

If you've played the game at all since the release of Dark Saviors, you might recognize this little old deck on account of it dominating the competitive scene for... a few formats here or there, sort of. It's hard to call this deck broken given that tournament results don't 100% agree with me (Gouki was arguably better until Firewall was banned, Sky Striker Trickstar only dominated for a few tournaments, and Hornet Drones dominates in every deck), but if you've played the matchup without teching against it, you probably know how impossible it feels. So let's fix that.

I've heard Sky Striker most often labelled a "tempo control" deck, which I believe means that it's a deck that has 1 card combos and multiple +1s but can't OTK you with them. Alternatively, you can view it as a deck that uses its inherent card advantage to back up a simple engine by accruing backrow. So you should be able to deal with it like any backrow deck, right? Not quite; the backrow is mostly quick-play spells, so Red Reboot is out of the window, and you can't easily OTK them because Kagari gets big and Shizuku debuffs everything and both can float into Raye who can tag into the other. Well, okay, those are Extra Deck monsters so I can just use Cherries, right? Well, you can, but you'd want to hit Kagari with that and Raye can tag out into Kagari in response, so their first turn is essentially impossible to stop with Cherries if they open Raye. And they play a hell of a lot of cards that get to Raye.

In short, a lot of the usual suspects are invalid here. That doesn't mean you don't have options. If you can view Sky Striker as a deck with two main components (monsters and backrow), one of the best ways to deal with it is to find a way that best disrupts both.

Before we begin properly, several Sky Striker cards are mentioned by name in this post. The Yugipedia page contains a list of all of them, so I won’t link them individually.

Going first, Shared Ride is such a common answer that it's become an occasional main deck choice. It is favored over Droll & Lock Bird because you will get to draw off of Engage, Kagari, and Shizuku, putting you in a good position to win the game after keeping up with their card advantage. It also can't be negated by Called By The Grave, but it can be negated with Ash Blossom.

Anti-Spell Fragrance, Secret Village of the Spellcasters and Imperial Order are similarly strong choices for hopefully obvious reasons. If they resolve, you will probably win the game, provided you kill them before they draw an answer.

If you're running a lot of floodgates, Gozen Match is the best versus Striker. Flip it before Raye hits field and they won't be able to summon anything else.

As for going second...

Starting with hand traps. Ash Blossom & Joyous Spring is obviously the best card ever and it's great here as well. If Multirole has resolved, you can't ash Engage, but if they use Multirole to send Area Zero to summon Raye, you can definitely Ash that. Droll & Lock Bird was mentioned above and it is decent as well. Ghost Ogre & Snow Rabbit is worth playing solely to interrupt Multirole. Effect Veiler is kind of meh, but playable--Infinite Impermanence is even better since it can stop their backrow once set. Ghost Belle & Haunted Mansion is actually better than both unless you really can’t afford to take hits from Hayate, since it can negate Kagari, Shark Cannon, and Called by the Grave. Speaking of which, Called is really good against Raye, so bring that in if you’ve got it in side instead of main for some reason.

Now that you aren't obliged by Gouki to run Sphere Mode or Cyber Dragon etc, you can safely start running Kaiju monsters. Any will work, but they get special mention because giving them a Kaiju will not trigger Raye and will actually prevent them from activating Sky Striker spells while they control it. Just tribute over Shizuku, deal with the backrow, then kill the Kaiju. (One of my all-time greatest moments in tournament was going to time vs a Sky Striker player who was slightly up on life with Kaina... With 5 seconds on clock, enter Main Phase, give you a Gameciel, give myself a Dogoran, declare Battle Phase, time called. Who needs engine cards when you see this much side?)

Speaking of making Raye not float, if you can make a Rank 4 undisrupted, Number 101: Silent Honor ARK can gobble up Shizuku and leave Raye alone in grave. This works because a monster isn't considered to have left the field once it becomes an Xyz material. That tech saw some minor play in Pendulum but has fallen out of favor as the deck has abandoned utility options for MORE COMBO. Other techs that function off of the same mechanic include Mind Control and Instant Fusion (summoning Thousand-Eyes Restrict, equipping the opponent’s Link Monster and linking it away).

Evenly Matched is also a decent choice, and if they don’t keep the monster, Raye will not float. The situation involving this card has become much more complex, though; seasoned players will play around it in games 2 and 3 if they haven’t seen their own sided-in copies of Solemn Judgment. The question then becomes whether it’s worth it to side Evenly Matched with the expectation that it’s there to bait Solemn Judgment... verdict’s still out, but I think it might be. Also worth mentioning: Sky Striker is not a deck that can kill you in a turn for leaving an empty board, so if you sae sided copies of Evenly Matched, but your opponent makes you go first, it might be worth passing turn without playing a card. Just play it off as though you bricked really hard. (smile)

Denko Sekka won't deal with the monsters, but it will totally shut off all of their other backrow (Shared Ride, Twin Twisters, etc). If you can spare the normal summon, she's worth it. Note that Denko is searchable off of Thunder Dragon Fusion.

Of course there’s a solid chance you’re not even losing to Sky Striker cards, but rather, Mystic Mine. This complete mess of a card absolutely demands answers by itself, so if you aren’t playing Twin Twisters or Cosmic Cyclone somewhere in your main or side, make sure to do that. Sky Striker typically ends up with one monster on board after breaking the Mine-induced stalemate, so intentionally linking your own board down to a single Knightmare Phoenix might be the play that saves your hide if it ever comes down to it.

All done. Hopefully the dust on this one doesn’t show through. I have some ideas cooking, but in order to avoid this situation happening again, I’ll keep them a secret for now. See you soon.

[jacobmarion76-blog]

Skyler Whitenack - Rockford Man

Details about the Whitenack family living in Adelshofen was available in action to an ad in the November, 1963 issue of Archiv fur Sippenforschung which was placed by Mr. von Frank.

He believed there might be discovered in the State Archives of Baden which would include records of feudal estates, tax payments, and so on. The records are not indexed so many packages of records would have to be gone through.

Originally Rockford market was based on 2 locaI basic materials: wheat for flour mills and lumber for saw mills. Both resources have actually disappeared from the area. Flour mills paved the way to other industries which took their put on the waterpower they had helped develop. Saw mills provided method to wood working plants which now must reach numerous miles into Canada and Appalachia for basic materials.

Much of the Palatinate was church land. In 1446 Germany was a federation ruled by ecclesiastical princes acknowledging fealty to the Holy Roman Empire. Damage of the Hohenstaufen dynasty by the popes of the 13th century had actually damaged the Holy Roman Empire and in 1400 it was a loose association of Germany, Austria, Bohemia, Holland ans Switzerland. Carinthia was mining gold as early as 1300, in 1519 it was west of Hungary and east of Switzerland and the Tyrol. Styria was just above Carinthia. Styria and lower Austira was ravaged by the Turks in 1532. In 1517 a league of 90,000 peasants in Styria and Carinthia carried out to end feudalism there and they attacked castles and slew their lords. In the Revolt in Alsace of 1562, 20,000 peasants were killed. Peasants had ruined hundreds of castles, abbeys, villages were depopulated and destroyed. Peasants wandered the highways and concealed in the woods.

Records of the Weidknecht's were discovered in Regensburg, Baden and Alsace. Baden was a margraviate in 1689.

A very little part of the output of Rockford's hardware factories is taken by her furniture factories, however most of the hardware is marketed in other places, especially in the east. Regional foundries supply metal producers with castings, but once again much of the production is offered in other areas. One furnishings factory focuses on stitching maker cabinets and actually has been acquired by a sewing device company. A slight fraction of the device tool output goes to Rockford metal fabricators. Nevertheless, the correlations between Rockford factories as sources of basic materials, devices, or markets for each other is minor. Rockford's industry makes use of basic materials which, in basic, are obtained from factories in the East; her industry serves a market which, though across the country, also is focused in the East.

In some town in the Palatinate the parochial signs up started in 1691 however the Lutheran registers did not start till 1727 or later on. A history of Alsace, Baden, Speyer, Heidelberg and Mannheim reveals that in 1689 the French Army sacked and burned hundreds of towns, hence records of the occupants would have been ruined. In 1659 Spain signed the Peace of the Pyrenees and deserted all claim to Alsace, ceding it to France. France ended up being the most effective nation in Europe. Louis XIV was the ruler in France. The French generals complied with Louis XIV and revealed to the residents of the above prospering German towns to evacuate their castles and towns as they were to be ruined by fire and sword.

In the 16th century, Bavaria included: Munich, Regensburg and Salzburg. Swabia consisted of: Baden, Stuttgart, Augsburg and Wurttemberg. Upper Rhine consisted of: Frankfurt am Main, Cassel, Darmstadt, Wiesbaden, Hesse and part of Alsace.

Although the Whitenacks were living in Baden, Alsace and Regensburg in the 1600's, they may have initially been from lower Austria or most any place in Europe.

I am revealing the very first generations referred to as Family No. 1, Family No. 2, Family No. 3, then In America calling the numerous households A, B, C, etc. If you need to know just how numerous generations have actually been traced, discover <missing the remainder of the sentence> ... Family No. 1. Martin Weidknecht, burgomaster of Adelshofen, (district Sinsheim, in the Kraichgau, Baden) (village of about 200 homes, some very old with stables connected to your homes). Martin Weidknecht was born about 1601 and died June 24, 1671, age 70 when he passed away; married before 1633 to Barbara--, who was born about 1607 and died December 25, 1687 in Adelshofen, 80 years of ages when she passed away. Problem:

Johann Martin Weidknecht, born about 1633 who passed away Dec. 6, 1688 in Adelshofen.

Household No. 2 He married (1 ): Catherina Weidknecht, the daughter of Hans Weidknecht, resident of Adelshofen who was born about 1619/20 and died Feb. 18, 1670, age 50 who wed prior to 1641 Catherina--, born about 1611 and died August 17, 1679 in Adelshofen. Andreas Weidknecht first marital relationship to Catherina Weidknecht was no Nov. 14, 1671 (she was born about 1648 and died Nov. 12, 1675 in Adelshofen.

Andreas Weidknecht wed (2) Anna Elisabetha Schlà 1/4 tter on July 25, 1677 in Adelshofen who was born about 1653 and she passed away Oct. 24, 1738. Issue by this marital relationship:

The first record of Johannas Wietkneght then is that he joined the church at Readington (North Branch,) N. J. in 1728. He was on the tax list of 1735 in Franklin, (called 6-Mile Run in 1716) Somerset Co., N.J. as owning 100 acres of land, livestock 7, and was taxed  ₤ 1 1s 3d. Hw was a freeholder (of land) in the Sourland Mountain (Western Precinct) in 1753 and a member of Mr. Frelinghuysen's church at 6-Mile Run and was voted a senior of the church on Sept. 25, 1751. In 1761 he contributed  ₤ 0.10 s 0 to build the kerk at Neshanneck. Solutions were in English and Dutch until 1784.

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Whiteanack, Bleker. Whitenack, John. Whitnack, Abraham. Whitnack, Andries. Whitnack, Benjamin.

Northampton county, Pa., Bethlehem Twsp., Mathias Weidkneght was taxed for 100 acres of land, 3 horses and 2 cattle in 1785, 86 and 88.

In a list of Revolutionary War Veterans, Morris Co., N.J. the following were discussed:.

Household No. B-10:. ( Youngest kid of Blakert Whitenack) John Whitenack (Whitekanack) Sr. of Morris Co., N.J. His will was dated Mar. 16, 1799 and proved Feb 8, 1800 (Lib. 39, page 97 File 1052 M) Yeoman. Spouse, Rachel, to have house, furnishings and use of plantation while a widow. Earliest kid, Thomas, all genuine after other half's decease or marriage. Needs to Thomas die without problem, then divide in between boys: William and Peter. Sons: William and Peter  ₤ 50 each. Children: Phebe, Charity, Elizabeth, Susannah, Catarine and Ruth each 20 shillings. Executed by boy, Thomas. Witness: Philip Parker, Samuel Hawes, and John Bockoven. This John Whitekanack is thought to be Bliker Whitnek's youngest boy, who wed Oct. 12, 1773 in Sussex Co. He may be the John Whitenack who remained in the Revolutionary War (Sussex Co.). His son Peter was most likely the Sergeant Peter Whitenack who registered 7 Sept. 1814 in War of 1812 and was released 4 Dec. 1814.

Andreas Weidknecht, his spouse Margretha and 3 children came to America in 1709. They joined the fantastic Palatinate emmigration from Germany to England in 1709. Some authorities declare there were 2,000 and others 32,000 in the group. Not all of them concerned America; soe went to Ireland. Reason for emmigration: thirty years war devastated Palatinate region, greater and higher taxes to support rulers of Germany in high-end, extremem cold winter of 1709 - birds on the wing fell dead, wind in casks froze solid, etc. There were 6 cruisings of Palatinates to America, the very first four boats carried very bad emmigrants who were unable to pay for their passage. The names of the travelers on the very first 4 ships is offered however the Weidknecht family was not noted. The last two ships guests were for the most part tradespersons and spent for their own passage. The last boat did not show up till August 2, 1710 in America. They were all packed with disease obtained on shipboard so they were quarantined for 5 months on Nutten Island now called Governor's Island so physicians might examine them. They lived in camping tents while typhus raved among them. Numerous children were left orphans and they were apprenticed to leading people in New York. 84 orphans were apprenticed in this style. The Palatines had been assured 40 acres each but they did not receive this till they had fulfilled their contract. Queen Anne of England who sympathized with the Palatines in Germany made the essential arrangements to transport them to America where they were to be engaged for tar manufacturing purposes. About half of the Palatines were farmers or vine cabinets in Germany. Upon their arrival, they were used on storehouses and barrels under a strategy whereby they received 2 shillings a day, half in cash and half in credit on their represent food and requirements.

Blakert Whitenack. X. his mark.

Hans Martin Weidknecht, born Jan 28, 1697 in Adelshofen. He is the Martin Weidknecht (Wytknecht) who landed at Philadelphia Sept. 30, 1732 on board the ship "Dragon" (List 26 A, B.C.) 55 passengers on boat from Rotterdam last from Plymouth, England.

County Tax Lists. Bucks County Pa., Millford Twsp., Jacob Wideneicht was taxed for 20 acres and 2 livestock in 1785, 86 and 87.

By 1712, the census of this family showed 3 adults (kids over 10 were counted as adults) so one need to have passed away. The next census showed that Margretha Weidknechtin, widow and two kids at Diese Monschen wohnen auf dem Rarendantz (Kniskerndorf) Schoharie Valley settlement. This is near the Katskill Mountains.

June 20, 1754 Priscilla Witconek wed Joseph Hains. Joseph Hains born 7-23-1722 was the sone of Richard and Agnes Haines who originated from Northumberland, England in 1682. Joseph Hains passed away intestate in 1768 and his spouse's name was: Ann. Another Joseph Hains was sergeant 1st Bat. Salme Co., N.J. Militia Revloutionary War.

The story goes (so Christiana Harker, my granny, whose mother was Mary Whitenack before her marital relationship) that Cornelius, her daddy, was embraced by the Whitenack family about 1795 and that his parents were Dutch and were both drowned when their ship was damaged in the Atlantic Ocean. Cornelius was saved, however, and was adopted by the Whitenack's and raised as their own kid. Other members of this Whitenack family have actually never heard this tale!!.

Family No. B8:. Mary Whitenack (spelled Whitekernek in marital relationship records) born July 7, 1740 passed away June 20, 1806, age 66. Her records specify she was a daughter of Eliakim and Anna Whitenack. Some of Blakert Whitenack's records reveal the name "Eliakim" Mary Whitenack was the (1) better half of George Bockoven (Backofen) who was born Sept. 15, 1734 and died June 3, 1814. He was a Lieutenant in Revolutionary War and they lived in Morris Co., N.J. He had 8 kids by Mary Whitenack. They were married April 12, 1759 (Morristown, N.J. Presbyterian Church records). Later on transferred to Basking Ridge, N.J.

Wythnegt, Joseph & Catreina, had a son Johannis baptized 23 Aug. 1772 Joseph Whiteneck, was a private in Battalion of Rifleman, Pennsylvania June 25, 1775 and July 1, 1776 Col. William Thompson Company likewise in Cap. James Parris Company on August 1776. This Joseph may be the son of Johannas Weidknecht's son Johannas (deceased). He may have been a casualty in the Revolutionary War as there are no further records of him.

There are no more records of the household up until June 17, 1716, Anna Marie Weidknechten saw a Lutheran Baptism on the Raritan at Nine Mile Run, New Jersey. Anna Marie Weidknechten might have been Blakert Witenek's better half. Blakert Witenek's better half's name was Anna but no records of Blakert Witenek remain in existence up until about 1740.

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A Richard Whitekenack experienced a will in Morris County on June 28, 1774. He might be a younger kid of Andres' who was mentioned in Blakert Whitenack's will as having more than one kid.

Family A9:. Abraham Witeknaght baptized April 21, 1765 (born in 1756 at 6 Mile Run, some records state). His pension record notes his birth as Feb. 14, 1757, Sourland Mts., Hillsborough Twsp. He got June, 1776 and served 2 yrs., 3 months and was discharged at end of war. He was a private and sergeant with New Jersey Troops under Captains Verbryck, Coenrath, Ten Myck, Buryea, Taylor, Van Ness and Rynear Staats and Colonels Quick, Taylor, and Van Dyke. He remained in the Battle of Springfield. He passed away Dec. 7, 1833, age 77. He was on Pension Roll under Act of June 7, 1832 Somerset Co., N.J. Revolutionary Pensioners.

Family No. 3 Andreas Weidnecht, born Nov. 1, 1672 in Adelshofen wed Margretha ------, before 1697. Andreas died in America (New York) about 1711. The location and year of Margretha's death is unidentified. Their children whom they brought with them to America are as follows: George Fred Weidknecht born about 1697 and thought to be the Johannes Weidknecht who lived and passed away in New Jersey, see below for his family; Anna Elizabeth Weidknecht, born about 1701 of whom there are no futher records regarding whom she wed or when she died. There is a possibility that Blakert Whitenack is the kid of Andreas and Margretha and was born in America about 1711/12. He is certainly carefully associated to Andreas and Margretha Weidknecht and Johannes Weidknecht as he called his kids after them. For his records, see Family B.

Martin bought 100 acres of land in Bucks county, Pennsylvania on June 26, 1734.

There were lots of John Whitenack's living about the exact same time in New Jersey which were never ever recognized in the records which makes it an uphill struggle to assemble. Revolutionary War Records list a John Whitenight of Sussex, private, and a John Whitenaught (among thes might have been Andreas Whitenaught's sone and the other the above Johannas).

The following may be Johannas Weidknecht's children by his very first marriage and roughly the very same age as Blakert Weidknecht:.

... [details on John's descendants omitted]

... [information of Andreas' descendants ommitted]

Family A5: Petrus (Peter Whitenack baptized at Six Mile Run Reformed Dutch Church, Raritan, Somerset Co., N.J. Jan. 1 1750 wed Elizabeth Johnson in 1796. Problem: Thomas.

Family A4:. Hendrick, no records offered.

Family No. B9:. Elizabeth Whitenack born in 1746 died in 1838. Church records).

... [details of Peter's descendants ommitted] Household A6:. Sarah born Dec. 25, 1754 (Millstone Churchyard Inscription - Sarah Whitenack Wilson passed away Sept. 5, 1831, age 77.

Household A1: Cornelius, some records state he was born June 20, 1731 - others that he was born Nov. 20, 1731. He wed Cortelyantje-- on Nov. 20, 1758 who passed away Oct. 14, 1816. Issue: John, Abraham, Abraham, Isaac, Agnes, Jacob, Nelly, Cornelius C. (Children baptized Harlingen).

From Somerset Co. Neshanic Reform Church:.

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Elias Weidknecht, single freeman in Northampton Co. 1786. Philip Weidknecht,""" ".

The Palatines were led by Rev. Joshua Kocherthal. In the "Kocherthal Records" which was published in Germany in 1717, Rev. Kocherthal listed Margretha Weidknecht as godparent of Johann Dietrich Marterstock 2. XII.1711 Andreas Weidknecht as godparent to Juliana Elisabetha Lastner on 21. XII.171? a Johann Michael Waidnecht was godparent to Elizabetha Mueller. Andreas Weidknecht was on the Safety Committee.

Abraham may have married several times but the only marriage there is record of is to Anne Coshun. Concern: John; Joseph; Sarah; Abraham.

His will is follows: Blakert Whitnak, yeoman. My eldest boy, Andres' eldest boy, John, 20 shillings, son Adres' child, Charity, 20 shillings. Boy, Blakert, 1/2 the plantation and the other half to my yougest son, John Whitnek, and if John pass away without concern his half to my kid, Blakert's child, John.

... [details of Cornelius' descendants ommitted]

Blackert Whitnak's birth and marital relationship records have never been situated. His relationship to Johannas Whitenaught is a secret. Blakert might be Johannas' son by an early marital relationship or he might be a sibling of Johannas and might have been born in America shortly after Andrea and Margaret Weidknecht's arrival in New York. Blakert Whitnak was not discussed as being among the emigrants to America. Thus he probably was born in New York or New Jersey. His relation to Andreas and Margaret Weidknecht (the emigrants) appears to be close as he named his children after them-- his eldest sone ws called Andreas, likewise he had a child John (Johannas) and a daughter, Margaret. If Blakert Whitnak was a son of Johanna Whitenaught who lived in the Sourland Mountain area, it would appear that they were estranged. No reference of his relationship to Johannas or any of Johannas' kids was made by Blakert in his will dated Nov. 30, 1761 proved Oct. 22, 1777 (Trenton, N.J. Book 4 pages 278-281). Blakert might not compose as his will is signed by his mark which was seen.

Records of the Weidknecht family's arrival in America are as follows:.

July 12, 1749 Jane Wit-ker-neack married Samuel Peck of Basking Ridge, New Jersey. (There is a Joseph Peck, Essex Co., N.J. will dated 1700).

... [details of Abraham's descendants ommitted] This finishes the descendants of Johannas Weidknecht which were discussed in his will, or from church records of his household. On the next page are some records of Whitenacks (Weidknechts) which have never ever been related to Johannas Weidknecht's family.

Blakert Whitnak's name was spelled in many variations, such as: Bliker, Blecker, Blakert, being the most normal kind. The name Whitnak also was spelled in various forms, such as: Witenack, Whiteanack, Whitekenack adn lastly Whitenack being the normal form. He was also understood as "Eliakim".

Family C:. Martin Whytknecht (also spelled Weidknecht, Whiteknight) showed up in America on Sept. 30, 1732 on the "Dragon" out of Rotterdam (185 on board and Chas. Hargrave, master). He was from Adelshofen, Baden and was a half-brother of Andreas Weidknecht who came to America in 1710.

Records were browsed in neighboring towns for the records of Michael Andreas and Margretha Weidknecht's childrent; these towns were Richen, Ittlingen, Borwangen, Eichtersheim, Eschelbach, Daisbach, Eschelbronn, Neidenstein, Epfenbach, Grombach and Gemmingen however absolutely nothing was found.

The earliest date of his household is of his child Mary's birth record who was born July 7, 1740. It is quite possible that he was married a minimum of 10 years prior to 1740 as he had 10 kids a minimum of. The church at New Vernon, Morris county, New Jersey burned down and possibly the majority of Blakert Whitnak's family records remained in that church.

Revolutionary War Records:. Martin Wethknecht. Martin Weidknieght. Jacob Weidkneght (7 months man of 1782, Col. Daniel Hiester, Jr.'s Battalion in Philadelphia County Militia).

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Family A. Johannes Wietkneght (likewise spelled Witeknaght, Whiteknacht, Whitenaught, and so on) most likely married two times and perhaps 3 times. He would have been old enough by 1719 to marry and maybe have had Blakert Weidknecht. One report is that he had 4 sons in Long Island before he transferred to New Jersey. There are no birth records of such children and no marriage records, and so on of Johannas' ever living in Long Island - simply hearsay. This might be the relationship between Johannas and Blakert.

About 1751, Wilson Whitenack owned a structure set up on the northwest side of the Cornelius Eoff farm not far from the roadway to Peapack.

Household A3:. Andreas Whytkneght (Whitenack) born _______ married (1) Catherine ------- who was the mom of seven of his kids. (2) He wed Maria Hagerman on March 19, 1778. They resided in Hillsborough Twp., Somerset Co. Andreas was a personal in the Revolutionary War. His will was dated Aug. 25, 1815. To his spouse: Maria, $600, bed and bed linen in lieu of dower, Son Daniel, $100 over the other children, likewise a horse and saddle. Children Nelly and Caty, a start as excellent as my other dauthers. Residue of estate to be divided among boys: John, Hendrick, Peter, Abraham, Andrew, Joseph, Aaron and Daniel and daughters: Sarah, Nelly, Caty and Polly. Seen by John Ditmars, Henry W. Coleman, John A. Ditmars, Iventory by James Stryker and Henry Coleman. Submit No. 1706 R.

1790 Census of Pennsylvania. Male over. 16 Males under. 16 Females 1 3 5 Whiteknight, Matthias (Northampton Co. 1 1 1 Whiteknight, Phillip 1 1 1 Wightknegt, Peter (Berks Co. Rockland Twsp. ).

Since the limit lines of Virginia, Pennsylvania and Maryland were not settled for some years. Parts of Frederick Co., Maryland were settled in 1733 by Germans from Pennsylvania. Parts of southern Pennsylvania (Greene, Washington and Fayette) were expected to be within the border of Virginia. Part of Maryland was in what is now York county, Pa. however settlers paid taxes to Maryland.

Their children whom they brought with them to America are as follows: George Fred Weidknecht born about 1697 and believed to be the Johannes Weidknecht who lived and died in New Jersey, see below for his family; Anna Elizabeth Weidknecht, born about 1701 of whom there are no futher records as to whom she wed or when she passed away. He is unquestionably closely related to Andreas and Margretha Weidknecht and Johannes Weidknecht as he called his kids after them. His relation to Andreas and Margaret Weidknecht (the emigrants) appears to be close as he called his kids after them-- his oldest sone ws named Andreas, also he had a kid John (Johannas) and a child, Margaret.

In a re-survey of property in Frederick county, Md. John Whiteneck, Jr. owned 22 1/2 acres called "Pardner's Alley" in 1786, in 1785 he had 16 acres at "Stoney Point". In 1798 he owned 177 1/2 acres called "Hard Climbing" and also had 4 3/4 acres called "Road in the Middle" and 14 1/2 acres at "Whiteneck's Alley".

Household D:. He is reported to have had a kid Benjamin and a daughter. Benjamin had a son John who moved to Mt. Vernon, Indiana when he was 21 and he married Lucy Kindrey. Their concern: John, Will, Martin (Reverend) who moved to Illinois and Okla. and had a boy John who had 10 kids and 4 women.

The John Whiteneck who settled in Frederick county, Md. before 1776 could be the child of Johannas Weidknecht Somerset Co., N.J., deceased; the boy of Martin Weidknecht of Pennsylvania; or the kid of Samuel Whitenack above discussed. One thing should be noted - the John Whiteneck of Maryland family spelled the name: Whiteneck rather of Whitenack.

John Whiteneck voted in governmental election of 1796 (D-R) Frederick Co., Md. In studying Frederick Co., Md.

He married (1 ): Catherina Weidknecht, the daughter of Hans Weidknecht, occupant of Adelshofen who was born about 1619/20 and passed away Feb. 18, 1670, age 50 who married prior to 1641 Catherina--, born about 1611 and passed away August 17, 1679 in Adelshofen. Andreas Weidknecht initially marital relationship to Catherina Weidknecht was no Nov. 14, 1671 (she was born about 1648 and died Nov. 12, 1675 in Adelshofen.

Another marital relationship record of Virginia: Wm. Whitneck and Bidzy Lambeth on Nov. 3, 1828.

There were no Whitenacks listed in Revolutionary War Soldiers of Virginia or in the census of 1790. Nevertheless, Maryland noted:.

John Whiteneck (senior) will proved in 1776).

[kierongillen]

On First Issues

I wrote this for my last newsletter, and figure it likely should be added to the tumblr, just it can be added to the Writer Advice tag. Anyway! Sign up to the newsletter for more of this kind of stuff, of course.

Mags Vissago on twitter asked what people's favourite issue ones were, which spiralled into a larger discussion of what makes a good issue 1. That I'm back in the world of Number Ones with the new projects kicking off meant I felt like throwing in my assorted spare change. Also, it was a good way to avoid work. The conversation spiralled a bit, and I thought it worth trying to pull some of this together in a chunk.

There will be a lot of obvious caveats in what follow. I would question anything and everything. What follows below is what I consider pretty solid advice, but pretty solid advice collapses into useless dogma is unexamined. This is just where my head is at presently. Now that I've put it down, I'll likely set it on fire.

Firstly – most of what follows is about writing about a comic which tends to be a standard 20 page unit, released sequentially in a regular release schedule. It doesn't apply to graphic novels. It doesn't apply to comics released irregularly. It doesn't apply to any other form that isn't comics. This is stuff which is warped because of the economic construct. It is also leaning towards what I'd call a pop comic. These are almost entirely genre comics of one form or another.

Issue 1s obsess many writers for various reasons, both good, bad and necessary. Part of it is simply because anyone working in a serial comics in the Anglophone American pamphlet model have more experience in writing issue 1s than any other issue number (“Last issue” isn't an issue number, pedants). So you spend more time proportionally working on them and thinking about them. Perhaps most tellingly, in the present Direct Market, your sales of the first issue are what establish the sales of the latter issues. If you can launch stronger, you have longer until the standard erosion of sales makes the book commercially unviable in singles (and so also gives longer to gain a trade readership which means that doesn't matter). “How effective the first issue is” isn't the only thing which effects sales, but it doesn't for hurt.

Even for books which find an audience in trades, it's worth noting that the number of books which are huge in trades are often books that also did well in singles. The single is many things, including an advertisement, and the more part of a conversation the single is, the more there is an awareness of the trade. The weirdest thing about WicDiv being a hit was how much easier it was to sell more copies of WicDiv. Its success kind of sold itself.

Anyway – in the conversation online, I argued that the best first issues tend to do two things, which I unhelpfully described as “First It” and “Second It.”

The First It is includes everything which I would describe as good writing (good writing, for comics, includes everything, not just the words – it's also art, design, etc). You introduce everything the reader needs to know about your book to have a fair understanding of it. The “Needs” is key. It's not the whole book, but certainly enough to give a reader a fair understanding. You show the sort of thing you do, and how you choose to do it. Obviously not everyone who ends up liking the book will like it (or vice versa), but generally speaking, you lay out who you are, as honestly as you can.

(Worth noting this also includes possibly alienating some readers. If they're going to burn out of a book, I'd argue its rude to string them along. I've never done this as aggressively as I did with my first comic, Phonogram, whose opening caption was so noxious to basically show the door to anyone who wasn't in for this level of nonsense. Why waste anyone's time, eh?)

A competent first issue working inside First It principles will introduce initial key characters, delineate them, their desires and the world they operate inside. In the style you do so, the readers will get an understanding of the book. Frankly, anything which you reveal when hyping the book is almost certainly inside the First It.

In short: most of First It is actually The Pitch – or rather, showing you can competently execute The Pitch.

(A common form of incompetence in Pop Comics writing is failing to do that, and you end the issue with less information delineated than you got from the solicits. I read a first issue in the last year, and found they'd printed the pithy series blurb on the back cover, none of which was explained to any degree in the comic I had just read.)

The Second It is where it gets tricky. This is more rarely pulled off, and also much more subjective, but it's also something that the vast majority of hit books have managed to do, which makes me suspect there's something powerful to at least consider.

The Second It is giving the reader something that wasn't in the pitch. This normally speaks to the actual truth of what the book actually is, or at least gives a sense of the book's direction. It can be a big huge genre twist, but it doesn't have to be that large. But it does have to be something.

(Or at least, it has to be something unless your core pitch is so unique, so magical, so entirely without precedent that you don't have to worry about any of this tawdry nonsense.)

There's a TV first episode which is often mentioned by other writers when talking about this. It's The SHIELD. Spoilers, obv. The show is about corrupt cops. We know this going in. Hell, you know that throughout the first episode, as it's delineated carefully (This is all First It stuff). However, in the final scene, the lead shoots another cop who's on his team. That's the Second It. It lets us know exactly how corrupt these cops are, and also immediately lets us know the direction of the series. For the genre it's working in, that's a strong opening.

A book that is competent with First It regularly fails to hit Second It in various ways, but there's two which I see a lot.

Firstly, the last page reveal is actually just the book's high concept. As in, what the reader already knew by how the book was described to them, or included in solicits. If it was Harry Potter, it'd be “You're a Wizard, Harry.” This means that a reader has paid $3-5 dollars to learn what they already knew. No matter how well executed, this tends to be a turn off. It's also a turn off which is 100% great writing if you were writing (say) a Novel. But there you aren't selling sequential units.

Secondly, the last page reveal is a big event which the reader simply doesn't care about. This is a failure born of the rest of the book, and shows well how First It and Second It aren't separate units. If you know the Second It is reliant on some emotional underpining, you need to make sure that is established. A classic example would be (say) a long absent relative turns up. If the issue has not spent sufficient time making the absence of the relative to your cast of absolute interest, that isn't going to land.

In Doctor Aphra 1, her Dad turns up into the end, and that's not set up at all in the issue. However, my hook was “her dad has turned up... and he's just fucked over Aphra.” The latter is the reveal of character about the former, and is the directional thrust. It's not about the existence of her father, but rather her father's character and what that means for Aphra.

Yes, you should be raising an eye on “Last page Reveal.” The commonality of “Last Page Reveal” in these books is another question, and a hint towards how this kind of writing has been codified. There's been a lot of people reverse engineering BKV, shall we say. “Reveal in final scene” may be a better way of thinking of it, and even that is too small for my liking.

To talk about WicDiv for a second, it's a complicated mess of a book, but our First It is establishing a bunch of the key mythology, vibe, style and two lead characters. The Two Lead Characters feed into the Second It – which is “A Judge is Murdered in the Middle the Court. Did Lucifer Do it?” That only even vaguely works because we spent the majority of the issue delineating Lucifer as much as we did Laura. The Second It for WicDiv was signalling this is a genre work with an actual plot, and not just ambling along Phonogram style. First It was “Here's our world” and Second It is “And here's where we're going next.”

You may be reading the above and thinking of it as a checklist. “Must make sure I have Two Its.” That would be a mistake. The two Its are an analytical tool. It's an editing principle when approaching your own material of what narrative unit makes a useful, accurate and compelling introduction to the story. In my case, it's looking at my story, recognising the point where First It (introduction to the book) and Second It (reason to continue reading book and hint at immediate direction) have been fulfilled to my satisfaction, and then writing and editing to ensure I include them both.

In the case of WicDiv, I looked at the story and thought “I have to get to the murder of the Judge.” I could have perhaps ended with Lucifer having just murdered the assassins who tried to kill her... but all that would have shown is “these pop star gods who claim to be gods have godly powers” and I said that in the hype. Perhaps I could have worked out a way to make that work if I played with the sympathy towards Lucifer differently, but that still felt like reiterating the pitch. The Death Of The Judge leading to a murder mystery was clear and direct. That's what I had to get to.

It's also worth noting that many of the most successful first issues (and some of the biggest hits of recent years) are longer than 20 pages. Y: The Last Man (which is a clockwork masterpiece of First-Issue-ness) was 28 pages. Saga is double issue size. Monstress was triple sized. For me, WicDiv was 30 comics pages. Spangly New Thing is 34. Longer issues both let you spend more time making sure First It is done well, and more time to push towards whatever beat you consider to be Second It.

(That's another reason why the Second It can come at the end of an issue. By definition, it's the point you were trying to reach. When you've reached it, you can stop.)

And as another side point, it's also worth remembering that How You Hype The Book can vary hugely. If I'd sold WicDiv as “Pop Stars who claim to be gods...” perhaps Lucifer having actual powers would have been enough for a Second It. I suspect not, because clearly me even posing the question is implicitly promising the reader the answer is “Yes.” That'd be like me selling an autobiography with “Does Kieron Gillen have magical powers?” and then showing across 300 pages that no, he's just a dude. But still: you get the point.

That's enough on this. It's interesting stuff to think about, because this is only a tiny fraction of it. If Issue 1 is everything that has to be in issue 1, what is Issue 2. Issue 1s are the hardest worked issues in a series, because you're preparing for so long, but Issue 2 are a special kind of heartbreaker.

I said it at the top, but all of this is also for a certain mode of comics. And not even all that certain mode for comics. The First Error I listed above? If a writer is figuring it's primarily a trade based book, and they feel it's not worth distorting issue 1 to serve the single, that could be a fine choice. I sometimes wonder if I'd have been better ending THREE's first issue with the Spartans turning up rather than the slaughter.

That's still a cliffhanger. You can go more extreme that that. When I launched WicDiv, and Warren and Jason Howard were launching Trees, I felt entirely ashamed having done this Pop Thrill Banger and Trees just cuts at the end of an issue and assumes you'll be back in month. It believed in a maturity in the audience and a willing to follow it wherever it went. That's something I find entirely admirable.

Point being: the above is only useful tools in so far as it aligns with your goals as a creator.