#understanding and overstanding

[superstar762]

Advanced Workout Tips 'n' Tricks, part 2

Forced Reps – Since “Heavy Duty Training” emerged, forced reps have become very popular among bodybuilders the world over. The idea of a forced rep is to assist a trainer with a few more reps of an exercise when he can not continue alone. A few more reps are ‘squeezed out’ when a spotter helps lighten the load. Be sure to use an experienced spotter who should relieve you of only 10-15% of the…

[ongawdclub]

N o t h i n g

C h a n g e s

[mrvenuspluto]

HIDDEN ( 12TH HOUSE SUN ) AGENDA

The soul might feel the power and authority within but cant project it into reality , which can cause self entitlement and distancing theirselves from others and social gatherings . They feel like they cant be seen or heard like their past life experience . This placement can bring an old soul who had many life time experiences and here to live out a last physical experience or not other factors can change up the observations . These souls may find greater outlets , opportunities and like minded souls abroad or in distant foreign lands . For example i have 12th house placement myself , life has been very interesting in a private , ether realm way , at times you may feel distance and alone in a room full of people you know or may not , even close love ones . Your senses are heighten you pick up on things others cant see , hear , smell or phantom . The sun here helps shine light on your subconcious , fears, gifts , talents , habits , and your new souls granted potential and mission . What i learned once you put in good deeds , accept change and live in your new spiritual light and journey you will regain all your positive , attributes , power , respect , and abundance that your soul has been yearning for , but in a new profound light . Balancing material realm from spiritual realm can be difficult for the unevolved and evolved soul , thats why its important to learn thy self , go within , understand , the subconscious realm and hear what its trying to tell you and teach you , follow your soul not your mind your mind and you will open doors you never knew existed . Your light will be like the light house on the ocean shore in the darkness , on a vacant island , where many lost souls end up coming to find answers , knowledge , wisdom , insight and the great beacon of light to help them back on their paths . It may be other people who have 12th house placements with personal planets like mars , jupiter , venus etc .... my opinion they dont compare to having the sun in this house . The sun is your vitality , essence , urge , identity purpose , life force , inner light , true expression ( thats why leo is the sun / 5th house expression ) which gets projected from your ascendant . I look at mars , venus etc... as attributes you use while you are in this body , so when they are in the 12th house its a lost of your attributes , and help from them on a material and physical aspect , but they are used in a spiritual way they are not here to be used physically . Certain placements like mars here could make a soul very frustrated and have alot of repressed anger and energy they cant express physically , and a unevolved soul would be in bitterness and self chaos in their own head , when they just need a self outlet and way to express it mentally , spiritually or doing a good deed that takes their mental strength and inner desire . This also may bring a father that was absent , intoxicated , addicted to something or incarcerated . At first i use to look at this placement as being bad but over the years of learning , self development and understanding this placement , i overstand , the deeper meaning . You are able to focus on you , your mental , spiritual nature , hidden gifts and get a break from material obligations and be of service to others who are dealing with 12th house issues as well , mental illness and depression etc. This placement can make you be a real life psychologist , medium , clairvoyant , clairaudience , claircognizance , clairsentient , i think professor x had a 12th house sun placement the way he could use his mind , and see into future , tap into others thoughts , manipulate things , and energy and know the rest of his students powers and know how to teach them how to control and balance them. remember you are not your natal chart you are you control your own destiny and create your own reality .

[micromontage]

don't just "understand"... overstand.

[madamlaydebug]

6 Protons

6 Neutrons

6 Electrons

Carbon

The Fifth Element

{Ether}

While your alive, understand, innerstand, and overstand who it is you are. #RoyaleDynasty #KingsNQueens

[caltropspress]

DEBRIEFING: 5 August 2023 | Brooklyn, NY | The Nursery at Public Records

Armand Hammer’s We Buy Diabetic Test Strips Pop Up Party, featuring Fatboi Sharif, Cavalier, and DJ Haram

On the helix approaching the Lincoln Tunnel I saw a Virginia plate that read PHUNKE—its occupants seemed anything but, but who am I to judge? Not since I saw EGO DETH on a Volkswagen Kombi in the artificial light of the Holland while driving in to see woods’ Church release show at Baby’s All Right in early June have I taken a license plate as a sign. Fred Moten writes that “the sign works its terrible magic precisely from within a radical non-isolation,” but it’s a bit too early in the everyday struggle for theory, wouldn’t you agree? What I’m focused on is the WE BUY DIABETIC TEST STRIPS signs plastered over walls and poles. A sight as common in NYC as POST NO BILLS and CA$H FOR CAR$. We close our eyes to these signs, oblivious to their ubiquity. We’ve become blind to them. But I saw the sign with “Armand Hammer” appended to it, and it opened up my eyes. Life is demanding without understanding. So I overstand the signs and signals sent through wires and cables when I dial 1-877-ARM-N-HMR. I focus. I fixate. I study Alexander Richter’s photograph from the forthcoming album of a lamppost covered in taped and torn flyers. The edges fray and flicker in city winds. Looks like the tendons and flesh rotting from the bones of Death in Hans Baldung Griend’s Der Tod und das Mädchen (1517) painting. Looks like some real litter-ature. Gathering on August 5th, just six days shy of hip-hop’s much-heralded 50th anniversary, I think of hip-hop flyers of the past, specifically Kool Herc’s Back to School Jam at 1520 Sedgwick. But MC Debbie D—a flyerologist of the highest order—tells us that the index card flyer is a phony, a fake, a fugazi replica, a forgery. Fifty years into this thing and we’re still searching for authentic experiences. Fifty people at a rap show and one’s an informant. I’m here to inform on what felt—brain to bone—like an authentic experience.

3PM in the sun. I lined up with the other RSVPs (the show was free, in every sense of the word) outside the venue. Summer summer summertime. Fresh Prince via Juice shit. The temp on my dash read 90°. Kids walked down Butler Street mantled with beach towels from the Douglass and DeGraw Pool. Spotted lanternflies dive-bombed my legs. Thank god I lotioned my pale neck. When the powers-that-be finally allowed us entry, the musk of maryjane and malignant body odor was thick. Now I knew (it hit me in the fucking face) what that PHUNKE license plate was all about. “Funk,” from the French dialectal funkière: “to blow smoke on.” I’m not complaining, though—it was a communal fumigation. We were funky technicians, one and all.

“The Nursery” that Public Records has built falls somewhere between greenhouse and Zen garden. The square space is essentially an urban enclosure where pine and plane trees and fresh lumber create a private performance patio, a paradise just beyond the concertina wire, as woods might say. The stage is bedecked with potted cacti, while I spied A. Richter across the way with his Fujifilm GA645Zi amongst the bamboo stalks. ELUCID’s green Champion mesh football jersey (the Bo Jackson jersey in the laundry, apparently) matched the soundsystem monitors, and I found what little shade there was to be had and huddled close to the soundman’s booth, a shed of glass. I almost managed to forget I was cordoned off by beige shipping containers. 

It wasn’t long before I was entertaining the idea of going full Fatboi Sharif, i.e., shirtless. Sharif himself only made it through half his set before shedding his garb—there wasn’t even a hospital gown in sight. The heat was on as soon as he came out to Can Ox’s “Scream Phoenix”—rising from flames. El-P’s Phillip Glass sample could’ve easily made a Sharif beat (we’re only talking a single generation removal, really). Sharif made quick work of some of his most recent altered realities. “Static Vision” included a call [I ain’t scared!] and response [Motherfucker, I ain’t scared!]. He ran through “Phantasm,” “Dimethyltryptamine,” “Designer Drugs,” “Think Pieces,” and “The Christening” like a buxom blonde through an abandoned building, revving chainsaw in pursuit. At times, his speech slurred into a makeshift Swahili (word to This Heat). It was strange to see Sharif in daylight, sunstruck, as I’m so used to seeing him in blood-flooded cellars or Joseph Conrad’s heart of darkness environs, like he alludes to on “Dimethyltryptamine.” He barreled through ventricles, riding shotgun in Sir Menelik’s Space Cadillac. DJ Boogaveli (who hypes up Sharif like it’s a pep rally at Springwood High) shouted about family at the start of “The Christening,” which sounded sincere compared to the tone Sharif takes on Decay—there the family must be of the Manson or Duggar milieu. He finished the track acapella, exhausting the last of his energy, only to reinvigorate and reanimate for a rioting rendition of “Smithsonian.”

I’ve yet to invest the necessary time into Cavalier’s work, though I know him from his association with Quelle Chris. With an album coming down the pike from Backwoodz, I found myself in the lucky position of witnessing his set incapable of discerning old material from new. He took centerstage, acting as his own hype-man and DJ (though he did high-five the invisible “DJ Light-skin” at one point), and his kineticism was immediately apparent. His floral button-down danced over his body as he rapped vitally. I felt vivisected by his exhortations and incisive observations. Keep in mind, my age prohibits me from becoming enthralled by any performer whose work I’m unfamiliar with—a sort of neuropathy of the soul. But he had me open and endeared by the time he implored, Put the tiger balm on it, put the tiger balm. As you wish, Cav. I lathered my chest.

“Y’all believe in magic? No? That’s okay.” Cav said it so quickly that he didn’t give anyone a chance to answer, but he assumed correctly, I think. Still, I was smitten by his conjurations—he made me a believer (no small task). “King me,” he rapped, “I’m trying to make it all across the board.” And, by the end of it, he had the entire crowd shouting “KING ME” back at him without a problem. MAKE SOME BLOODCLOT NOISE! he growled, and we didn’t need to be asked twice. IT’S VIBRATIONAL, AIN’T IT? With a seemingly innocuous phrase he was able to summon the spirit of the crowd. Over the course of his 25-minute set, I heard him rhyme epiglottis, brag of spitting a verse while performing cunnilingus, give a lesson on homophones, and regale us with stories of winking at cops in Whole Foods. “From the Tree of Life I smoke foliage,” he said, and the trees Betty Smith saw grow in Brooklyn circulated through his lungs. “We need to bring back weed spots—it’s not nostalgia.” Though he did rap nostalgically at times, letting us know he was born in BK, went to school not far from where we stood, and though he’s representing the 504 now, Brooklyn born-and-raised ossified his being into bone.

THIS IS CHURCH, YA FEEL ME? And I did feel him. I spent the week culling quotes about improvisation from Amiri Baraka’s Black Music (1967) for another self-assignment (I don’t work for anyone, son), and highlighted this passage: “...to go back in any historical (or emotional) line of ascent in Black music leads us inevitably to religion, i.e., spirit worship. This phenomenon is always at the root in Black art, the worship of spirit—or at least the summoning of or by such force.” [Peace to Kehinde Alonge—always at the ready with choicest recommendations.] Cavalier danced upon the altar and rapped his sermon relentlessly, tirelessly. I was raised up on tippy-toes, enthralled by the force of his spirit. THIS AIN’T JAZZ?! he asked. WHAT THE FUCK THEY TALKIN’ ABOUT MAN? I don’t know who’s doing that sort of talking, but they’d be hard-pressed to say such a thing in this public gathering. “Brooklyn, this is how it feels—all of us together: this is how it feels.” I believed in Cavalier’s magic by the end of his set. I was charmed by his satchel of High John de Conqueror. Let me know where to Venmo my tithe. 

The heat index had my vision tunneling. When Armand Hammer stepped on stage, sounds were moving in reverse, and the Class-A dynamite duo took us back (way back) in time, when ELUCID was in “fifth grade in [his] dad jeans” and he “played Game Boy in the backseat.” woods, with his first words of the afternoon, said he “rather be codependent than co-defendants.” This must’ve been “Landlines,” the lead-off from the new album, seeing as how they shouted-out JPEGMAFIA, ELUCID rapped “leave a message after the beep,” and a dial tone toned between verses. It was off the hook, as they say.

They seemed to be following the official We Buy Diabetic Test Strips tracklist, because next up was “Woke Up and Asked Siri How I’m Gonna Die” (a song with a title so long that it must’ve come from the magnum mind of ELUCID). She replied, she replied, she replied… they repeated, but I didn’t quite catch what that chatbotbitch said. woods refashioned a line from “Remorseless” with “Life’s a blip, I’m swimming under the radar.” Life’s a blip and then you die, that’s why we puff lye. Further deepening the uncanny valley, their third offering to the musty masses included “fake trees in the Apple Store.” I’m sensing something about the excesses of tech after a cursory listen to these WBDTS tracks, the detritus and pollution it produces. To quote my damn self, something in line with “...a cell tower with evergreen branches: / …a drone with seagull feathers.” ELUCID revived “a double portion of protection for [him] and [his] niggas,” explaining he’s “trying to only say what’s necessary.” By any means, sir. 

Cavalier was welcomed back to the stage for “I Keep A Mirror in My Pocket,” another new joint with Preservation on production. We the audience felt, collectively, like we were in the belly of the beast—those shipping container walls (a real Season 2 of The Wire sensation)—as Cav chorused and signified about the Big Bad Wolf. A cautionary tale, indeed. I can see clearly how Cavalier fits within the Backwoodz cadre. 

The content of the next number left no question of its title. “Niggardly (Blocked Call),” if I was asked to predict, will be the cynosure of the new album. (Yeah, you heard me right dog, I said cynosure.) Produced by August Fanon (who was in the place to be—a rare appearance from an elusive mastermind who would humbly demur if you called him such, I’m supposing), the song has an R0 = 15 infectious hook: “Admittedly niggardly, I won’t even give these niggas bad energy.” woods, what with his penchant for scales and measurements, boils everything “down to the last red cent.” How does he do it? Well, MY HEART PUMP KETAMINE, he yells. We find woods in one of his ruthless, no Vaseline moods: “I eat knowing I’m starving my enemies.” Revenge is like the sweetest joy next to spending time with your kids, and woods picked up where his verse from “As the Crow Flies” left off. He closed his eyes and rapped to the rafters and the sky:

I write when my baby’s asleep, I sit in the room, in the dark, I listen to him breathe, I walk him to school and then the park,  Hold they little hands while we cross the street, I think about my brother who is long gone, And this is all he ever dreamed.

ELUCID and woods repeated admittedly niggardly back-and-forth at the end, delighted with the wordplay. 

They kept riding the August Fanon beatwork like Thomas Sankara in the Renault 5 as the killer chords from “Smile Lines” crept in. The crowd response was screw-faced sneers and shouted lyrics. One youngblood knew the song front to back, beginning to end—ELUCID acknowledged him from the stage: “Peace to the homie out there—he knew every word, man.” I watched the dude beam from the compliment. Even after writing profusely—profusely (fuck Caltrops and his non-existent editor, here comes the predator…)—about woods and ELUCID, I still can’t memorize their lines. Chalk it up to some neurological incapacity that arrived in my 30s. I envy those who commit songs like “Smile Lines” and “Smith + Cross” to memory. My not-so-supple gray matter just can’t cut it anymore.

My expectations for We Buy Diabetic Test Strips were upended by the tracks they debuted. I’d speculated an abrasive noise event; a Sheet Metal Music for the new millennium we’ll never reach; a kind of Schoolly D “P.S.K.” FML swagger. There’s certainly elements of that, just not as much as I was anticipating. (And who knows what noise the as-yet-unheard tracks might bring.) I assumed the shared space with Soul Glo over the past several years, the screechings zapped through the receiver on the toll-free number, and their recent appearance on Shapednoise’s Absurd Matter would be an indication of the Shape of Rap to Come. Speaking of which, woods sludged through his verse from “Family” before DJ Haram’s scrapyard percussion ushered in “Trauma Mic.” 

Haram was at the helm for the entirety of Armand Hammer’s set, and she reveled and felt every ounce of her own beat. The buzzsaw sounds were like Baraka’s description of Don Ayler’s trumpet: “long blasts…in profound black technicolor.” ELUCID’s traumatized mic draped over his shoulder for the opening anvil strikes. He needed his hands free to clap in rhythm. The gesture was reminiscent, again, of Baraka’s analysis of the saxophone held by Albert Ayler (the elder Ayler), “a howling spirit summoner tied around the ‘mad’ Black man’s neck.”

The “Trauma Mic” video had me thinking on thematics of refuse and rubbish—you best protect your dreck. I thought back to the garbology Aesop sifted through, where I saw Bakunin’s barricades in the city streets and revisited the actions of The Motherfuckers in the late ’60s—they stood in solidarity with striking sanitation workers and dumped garbage at the doorstep of Lincoln Center. Armand Hammer—outfitted as scrappers, pitching barrels and coiling skeins of copper wire—are of the same spirit. They propose a cultural exchange of garbage for garbage.

woods bodied “No Hard Feelings” and was joined by damn-near the entire crowd. Had it sounding like a tenant revolt as we all screamed, LIKE THEY STEALING! The Aethiopes track equals, if not outright overtakes, “Asylum” and “Remorseless” as most affecting in the past year’s blitz of performances. 

ELUCID stood on the precipice, at the edge of the stage, as he rapped through “Barbarians.” He went swimming into the crowd with his free arm, astro-spiritually. The refrain of “Who the fuck are you?” evolved from the accusatory tone heard on Rome to an existential “Who the fuck am I?” ELUCID and woods bandied the question between them like two college kids in the dorms at 2AM, faded as fidduck. The “intelligent fist” of woods and the “mysticism” of ELUCID (to use an equation Baraka applied to Milford Graves and Sonny Murray) working together to produce a manic mix. They kept the marriage going through “Mangosteen” before turning to the heliocentric worlds they invented in collaboration with the Alchemist on Haram. “Black Sunlight” and “Falling Out the Sky” had me thinking of Baraka (again!): “It only takes two to start a group. If the two are maturely strong, and have a oneness, then the others will feel it and touch their own sound, voice, or whatever.”

ELUCID’s last solo number was “Spellling,” and by then he was spent but still perseverating in the dopest way possible. “This is a physical experience,” ELUCID said as the song began, asking the soundman to turn the volume up higher. IIIIIIIIIIIIIIIIIIIIIII been spelling, he spoketh [an ever ever elongated I and a shot-to-the-dome of “been”]. The I Told Bessie opener became what Baraka calls “an antiphonal rhythmic chant-poem-moan.” ELUCID’s voice was ragged by this point, a metallic scrape as he shouted about being “your momma’s favorite, since about ’88, ’89.” The down in “just got to heaven and I can’t sit down” was made malleable in how he twisted it around in his mouth. Split tongue heavy lifting.

He had nothing left when the alarming squeal whistle warp of “Stonefruit” started to play. But the audience assisted, screaming with him I REALLY CAME IN ON A CYCLONE as his voice gave out. woods jumped in early when it was his turn, which proved a moment of levity. To err is human, and woods—despite the adoration he’s been receiving—is endearingly human. That humanity is probably why so many of Armand Hammer’s fans have become zealous collectors, showing up at the venue with cardboard boxes full of vinyl, willing to wait patiently for woods and ELUCID to write their names in metallic Sharpies on these their prized possessions. “First Armand Hammer show in the states in a while,” woods said at one point. “Small flex,” ELUCID noted, chuckling. But they brought it home on Saturday. It was “As the Crow Flies” made manifest. woods brought all the Backwoodz family on stage at the conclusion of their set. The family atmosphere afforded by the 3PM start time was embellished by the sight of children on shoulders. It had the feel of a triumphant affair. It’s winning, it’s winning, it’s winning���

Peace to the conversations that were had with Alex Richter, Willie Green, Max Heath, and Sharif.

Photos credit:  Rory Simms

AH setlist:

1.  Landlines 2.  Woke Up and Asked Siri How I’m Gonna Die 3.  [???] 4.  I Keep A Mirror In My Pocket 5.  Niggardly (Blocked Call) 6.  Smile Lines 7.  Family 8.  Trauma Mic 9.  No Hard Feelings 10.  [???] 11.  Barbarians 12.  Mangosteen 13.  Black Sunlight 14.  Falling Out the Sky 15.  Spellling  16. Stonefruit

[keepcalmandcarriefischer]

I don't understand anything. I overstand. Get on my level

[214-deadboy]

i watched hell or high water again last night and bro i literally get chills thinking about how good that fucking movie is like bro says "lord of the planes" right before he sees jeff bridges in the distance and jeff bridges smokes him bc the whole movie JEFF FUCKING BRIDGES is the lord of the planes/ the enemy of everyone that's why he understands/overstands bro on that level like that like bro i wanna punch a wall rn thinking about this shit it's too fucking good

[kala-ya-aan]

In life, it's not just better upon receiving knowledge of to that which you did not previously know before by understanding. No, one must know how to OVERSTAND all things they taught you and more importantly what you know. To overstand ignorance, negativity and hate in the face of unlovable conditions means the most groundbreaking revolutionary act.

"A man lives on principles --I don't posture to be popluar. Born to be a leader not just a blind follower." - M-1 (of Dead Prez) 👊🏽✊🏽👑

[sugarpkts]

understand? **overstands**

[ongawdclub]

T h a t D r e a m

[winever]

3 goes into 15, 3 goes into 24.

If you understand, you overstand.

[madamlaydebug]

THEY INNERSTAND UNDERSTAND AND OVERSTAND YOU DIFFERENTLY I AM GRATEFUL 🙏🏽

[madamelaydebug]

World war 3 is the war for your mind & spirit. Understand & Overstand. The god within you is at war with your ego. Many people live their entire life not realizing that there is another side of reality that governs this physical realm. What causes people to become addicts or serial k*llers? There is a FORCE that’s compelling them to do these things that they’re not strong enough to resist. We all have negative/destructive thoughts but through self awareness & discipline we learn to control them. The spiritual war is not so much about you vs another group of people it’s more about you vs. your own consciousness. 💎

[olodsolo]

Can anybody explain: 1st how to stop thinking, 2nd stop think all the time? Last time I checked in order to understand or overstand you have to think unless your walking asleep. Now please explain so I can think. 😂

[brettbowden]

Understand The Effects of Current

Firstly you must understand what current is, how it acts on your boat and its effect on wind speed and direction. How to Understand The Effects of Current Currents are driven by three main factors: The rise and fall of the tides. Tides create a current in the oceans, which are strongest near the shore, and in bays and estuaries along the coast. Wind. Winds drive currents that are at or near the ocean's surface. Thermohaline circulation. the movement of seawater in a pattern of flow-dependent on variations in temperature, which give rise to changes in salt content and hence in density. Current Characteristics and Causes: Current is faster in deep water and slower in shallow water so sail out to deeper water when the current is with you and sail in shallower water when you are sailing against the current. Sustained, strong breezes push water in the direction of the wind; when the wind subsides, the water flows in the opposite direction.
      Pressure systems also create current and influence tidal flows. Lows increase the height of high tides and prolong flood currents; highs push the water away, which increases the strength and duration of low tides and ebb currents. Current is strongest around prominent points and in narrow openings such as harbour mouths. There are usually back eddies on the down-current side of islands, shoals and points.  When a tidal-induced current begins to change direction, it changes first along the shorelines and later in the mid- channel. Working Out Current: One way to predict what the current will be doing on the race course is to use published charts and tables. These give a fairly accurate guide to the velocity and direction of the current that is caused by tides. Another way is to look at fixed marks or buoys like the starting pin. Be careful not to confuse wave action with current and anchored boats will also give you a good idea about current flow. Another important clue about the current is the appearance of the water surface. When the current is flowing toward the wind, the water will be choppier than usual. When it's flowing away from the wind, the water is smoother. Look also for distinct lines of separation between different water surface textures. Racing In Current:  When starting a race in current, be sure you have a line sight to help you judge the position of the line. When the current and wind is going in opposite directions, you're likely to end up with multiple recalls. This is a great time to start at the leeward end (assuming you want to go left) because it will be easy to make the pin. However, don't start right at the committee boat, because it's too easy to get caught barging. And be careful not to be over early, since it will take a long time to get back against the current and re-start. Current affects your course over the bottom and therefore changes the laylines to any windward or leeward mark. When the current is pushing you away from the layline, it's easy to underlay the mark and lose distance by trying to pinch up to the mark. The safest route is to overstand slightly -- this will keep you clear of the mess of other boats and eliminate the need to make extra tacks.
 When the current is pushing you toward a layline, the biggest potential mistake is overstanding. Prevent this by approaching to leeward of the "normal" layline or by avoiding the starboard layline completely until you are almost at the mark. Current on Reaches and Runs: On reaches and runs, the current will usually cause you to sail a longer course than necessary. Stick to the rhumbline and gain valuable distance. The best way to do this is by using a land sight. If you can see land behind the next mark, use this to set up a range so the mark stays in the same place against the land. In the absence of a land sight, use a compass bearing to the mark and steer a course so this bearing remains constant. Myths Regarding Current: There is no such thing as the lee-bow effect, if you are sailing upwind directly into the current, you can't gain by pinching to get the current on your lee bow. Another Myth is the belief that the direction of the current favours one tack over the other. As long as the current stays the same for all boats, it doesn't matter whether you take the up-current or down-current tack first or last. #sailingtowin #sail #sailing #sailingcoach #sailtowin #yachtrace DISCOUNTED MEMBERSHIP SITE   Read the full article