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Interviewer: > Interviewee: > Alessandro Ludovico
Marialaura Ghidini: In my opinion you are an editor, a journalist, an artist, a researcher, an entrepreneur, an activist and a curator. Could all these roles be encapsulated in one definition in the context of contemporary art production? Do you think that this multifaceted approach of yours is connected to your work with technology, with new media? Alessandro Ludovico: I dont know if I can qualify for all of them. I think I am an editor. I know I can write a text very easily; I can write my socks off, so journalist fits. Researcher? Yes, my main passion is to connect concepts and facts, and research them both in the past and in the present. Artist? A more difficult title. Even though I cant deny I am, I have always stressed that I dont feel I am, strictly speaking, an artist. I have made artworks collaboratively, in group, maintaining my role as the writer or the theorist of the group. Entrepreneur? I am not, or if I were an entrepreneur I would be a totally failed one! [Laughter] Activist? Through art. Curator? Its a stolen titleI didnt start as a curator. It is something I have done, but together with other things. Is there a single definition that embodies all of this? I am not sure there is, because there are so many fields of culture that cannot just be summarised in a single title. Actually, I think this also reflects a contemporary problem, which is the need to engage with so many different fields at once. That said, I am still one of those people who strongly believes you shouldnt beas the British saya jack of all trades, master of none. You should really focus on something, on the things you are passionate about; those you feel you do better. So, I usually define myself as a writer. This is the only thing I feel comfortable with. Even if there are some stolen titles that I play with, a definition that could be used [to define my work] is networker. It is kind of a lousy definition, especially if you consider the Italian concept of networker, which is used to indicate someone who cheats everybody. But the real networker is a person who is able to connect people, concepts, and situations to connect other people without being part of the deal. In this sense I really feel that I am a networker, and I use my network to nurture other peoples networks and connections, to facilitate whatever situation I believe is worth contributing to. So this could be the answer in a word. MG: When you talk about post-digital printing you refer to two concepts I find fundamental when discussing artistic production online, a type of production that has now moved towards modes of production and distribution across the online and offline. The two concepts that you mention are hybridity and processual objects. Can you tell me more about this? I have been looking at hybridity in relation to contemporary artistic production and gallery display; can you give me some examples taken from your personal experience and research within the field of publishing? AL: The starting point for meeven though I had thought about this beforewas when I started my current main research into the relationship between online and offline publishing. There were quite a few questions that needed to be asked. The first one, the main one, was: why is online print only happening now? Why did Napster happen in early 2000 and the boomif there is a boomof e-books is happening only 10 years later? Why did YouTube happen in the second half of 2000 and online print now? One of the reasons I think I have found is that print is very strongly rooted in the physical object: it is completely physical and at the same time it is the oldest interface for cultural objects we have had, dating back 500 years. There is a saying that defines print as the perfect interface; in fact, you instinctively know how to deal with a book, but not necessarily how to deal with a record or a video. So, for books and magazines, for print in general, this question of the digital and physical is even more prominent than with other media, and this relationship emerged as a crucial one in my research. Historically, this question entails tracking back how the physical interface evolved and how the digital one emerged, then finding when they juxtaposed, crisscrossed, or merged, even partially. At the end of this, the need is to look at what is going on right now, or even better to look at what could happen more than what will happen. And rather than predict, this need is more about trying to imagine the future, to realise it and implement it. In the case of print, scattered sites and experiments made by printing content that had previously been processed have emerged in the last few years. So I started to wonder: This could be what could happen which did not happen before. There is no historical moment in which technology would have generated something like this before. MG: What are the instances that you just mentioned? AL: Historically speaking, these instances are more conceptual than practical. Take the Dada poems, for example: Tristan Tzara explained how to generate a poem by taking a copy of The New York Times, cutting an article and all the words and then recomposing them where you want, which in effect is a purely generative process. There are many other historical examples, like Raymond Queneau with all his experiments in literature, especially the ones with the Oulipo [Ouvroir de littérature potentielle] movement. The Cent mille milliards set of poems is a book in which the poems are cut in to strips, so you can read any strip of any poem in a kind of combinatory way; potentially you have millions of different poems. Again this is generated from physical things. In these instances, there were already, embryonically, the concepts I mentioned [hybridity and processual objects] but they were not fully realised. Now, what we have are extended networks, and behind these networks there are the huge computational powers of machines in fact, although we tend to see those machines more and more as purely communicational structures, we are forgetting that they have incredible computational powers. It is interesting that [via these networks] we can elaborate the content and not just distribute it. In the print world, the debate is always about: We have print things which are expensive to print and to distribute, but if we go digital we dont have printing and distribution costs. Thats the general main argument, but there is one point that is completely missed here, in my opinion: the network is not only an infrastructure for distribution it is also made by computers, which can calculate digital information to accomplish this distribution. These calculations, this processuality of contents, can affect the production itself. If you connect them with very obvious network references, such as the spatial locations and where the content is produced and processed, for example, you can have very interesting things: cultural and processual objects which can be produced within the print realm. There are already many artists experiments with such concepts, even though we are at the very beginning. And the key issue here is to have content that has been processed, and not just harvested from the network and then printed. This is another dimension, equally interesting. But it is one thing to have a concept about how to elaborate content, to devise a process and apply it to some content, and anotherin the case of printto freeze it in the space and interface of a book. MG: Could you give me an example of any publishing projects you think incorporate this [read: social processes enabled by digital networks]? AL: There are quite a few. There are some projects that are close to purely generative processes. There is this artistic project called Written Images for which artists (selected by a jury) provided algorithms that generated artworks which were different every time. What those guys [the people behind the Written Images project] did was to make a single generation of each algorithm, take a picture of it, put the pictures all together and print a book, which is unique each time it is printed. They also went a bit further to reinforce the concept. They asked Bruce Sterling [science fiction author best known for several novels and the Mirrorshades anthology] to write the introduction, which was created in a way that can be slightly different every time you print it. Another example that takes a step further from this use of a purely generative concept deals with classic book categories, such as biographies. The French artist called Grégory Chatonsky made an artwork titled Capture that is about generating an entire music band. The artist harvested lyrics from the Internet and created music based on them. Besides these generated music pieces, he also staged remote music concerts in which the music generated itself. They lasted hours. He took this further too. Chatonsky generated a band biography by instructing a software programme on how to retrieve specific kind of images and texts on the net and then assemble them in an automatic way to produce it as a print on demand publication. So you have a band biography for a band that does not exist. Again you are using the process here and not just the network. A third example isand I could go on for a while!the most artistic one. There is an Italian duo of artists, Les Liens Invisibles [Clemente Pestelli and Gionatan Quintini], who question the format of the artist catalogue, better still the artist monograph. They created 100 titles of artworks through finding pictures on the net and determined their year [of production] and artistic techniques to make 100 non-existent artworks plausible. In a very automatic way they generated a collection of artworks by creating a monograph in which invented artworks were described as if they were real ones. If you look closely at it there is not much difference with any other real artists monograph. MG: Was all the content sourced from the Internet via an algorithm then? AL: Yes, it was sourced via an algorithm. The algorithm plays a very crucial role because it has to be very effective to give life to the work. Otherwise youd just have a random thing. In this case you have to see that, for instance, that picture could represent that artwork with that name and technique. Then the calculation, the processual nature of this virtual object becomes plausible because it is effective, and then you can trust it. At this point it gets printed, and when it is printed we trust it even more... MG: Yes, we trust things more when they are in print, why? AL: Your question is empirical. We trust printed stuff more because it is not modifiable, changeable. Once something is printed, you cannot modify or change it. And the digital is based exactly on the opposite, which is that everything can be changed, reprogrammed, recalculated. It is the physicality that generates the trust, because in print you have plenty of pages, and these pages are the space, so that you can dedicate that space to a specific content forever. It is the page content. In the case of digital you have no space at all, you have just your screen, which is bidimensional, it is very limited. So there is no space you can dedicate to content forever, and you need to change everything all the time. MG: Is there any possibility we can talk about site-specificity in-between online and offline from your point of view, without making a distinction between these two modes of display and of working? AL: This is not an easy question. The thing is, we are assuming we are using digital means all the time so that we are talking about post-digital as a definition of reality, which is not split into virtual and real but is just one continuum so to speak. But at the same time there is a kind of anthropological question of how I am affected, how I physically and perceptually react in front of a screen. And how I perceptually and physically react in front of anything that is retro illuminated, for example. There is this thought from [Marshall] McLuhan that I really love and I included in my book [Post-digital Print, 2012]. He says that we are totally fascinated by screens because they are retro illuminated, like the glassworks in a church that were made to be retro illuminated because we react differently to this. They seem to glow with light, they have their own enlightenment, and we are just contemplating them. What McLuhan was hinting at is that we are mesmerised by televisions for similar reasons, and I would say that now we definitely are by the multiple screens we deal with all the time. So this something in-between is actually tricky because it should be either a kind of new space where I am not technically in front of a screen or it should be something I just perceive. MG: My next question was supposed to be about publishing in relation to the hybridity we discussed, but in a way we have already touched upon it so I will move onto the next question: how would you define the role of the contemporary publisher? AL: This is a very vast question. I am not sure I can easily answer it! I mean the only thing I think is necessary for a contemporary publisher is to metabolise this network concept. So he should not only have a strategy and a concept for what he is publishing but he should think in networked terms. For example, who is reading and where he is reading? What I am publishing? There is not a big difference with the past except for the available channels, the platforms and the scale probably. I still think that more than the publisher the key role is that of the editor. The editor is the filter; he is filtering information and is the mediator of the whole concept he is trying to put together. So whatever specific mediums the publisher is usingWeb, print, writing on matchboxes or writing on bank notesthe editor is crucial. And again, ISEA2013 was great for the meetings I had there. I met Judith Doyle from Toronto and she told me that there is no school for editors, there is no official school you can attend to become an editor, it is something that you just do, that you feel how to do or not. MG: Well, I assume a curator is also an editor, and as an editor she/he learns on the job, via using different platforms... AL: ... and practices... MG: and practices as well, yes. AL: But still I think curating and editing are quite different practices. MG: What does make them different? I find this interesting because I come from a curatorial perspective. My PhD is within the curatorial field, and we have these historical tropes, especially within the new media field; these definitions like the curator as editor, the curator as filter feeder, the curator as aggregator... and we are using publishing terms, right? So I wonder from your perspective who are we then? [Laughter] AL: That I cannot answer! I already have enough problems with defining what publishing professionals are doing at the moment... I dont want to go into how curators, and new media curators can be defined. Too much work! [Laughter] The whole field is borrowing terms from publishing because publishing is a very established field and if you say editor everyone knows what you are talking about. So using these terms can be very effective. But they [curators and editors] are similar and different at the same time. They are similar in that they filter information very heavily; one really has to reduce the amount of interesting information around a single concept to achieve a very strict selection that one thinks is worthy. They are similar also because this selection rather than being omnicomprehensive has to be very representative; it has to tell a lot about their concept. And finally, they are similar because if one is passionate about this work one really cares about each element, and even the details about each single element. As a curator one would take care of a corner of the pedestal that has been a little bit scraped and would ask people to clean it. And as an editor, one would put a parenthesis where it is missed. The difference is that with curating one deals with artworks and as an editor one deals with text mainly; one also deals, in the instance of a graphic editor, with pictures but they are always meant, traditionally, to complement a text. These days I am reading a book about the paperback revolution in the sixties. For example, think about The Medium is the Message by McLuhan. It gave all this space to pictures; they were preponderant in that they were not meant to be illustrations, they were totally part of the text, on the same level and with the same importance. We are back now, even with experimental magazines except for very few examples, to having the text as the crucial thing and pictures as less preponderant elements. Artworks are a whole different world compared to text, or I could say that to deal with them is quite different. Another difference is space. I mean, I have never thought as a curator, I have only spoken with a few curators, but I have been completely entranced and hypnotised by some curators in my life. And one of the few things I think I have understood is how a curator manages the space, that is, the experience of the person who is involved, engaged, immersed in the space is absolutely essential. So as a curator one deals with the space he has, whatever that space might be; it can be completely virtual, or heavily physical, or it can be small or huge, but a curator deals with that. It is crucial. As an editor strictly speaking one is not thinking about space, unless there are constraints such as that the text has to be 10,000 words. That is all the space constraints an editor has, and then it is the job of the graphic designer to make it looking beautiful or attractive. But the task of the editor does not involve the space. That said; another similarity between the two is that one deals with an artist about his concept and the other with a writer about his concept. So a curator triggers an artists by saying: Have you though about that? or This part has a lot of potentials, maybe you can think about developing it a bit more. The same happens with a writer for things like: Yes, this part of the text is so powerful so you have to move these few lines at the beginning or You should engage the reader and take him by hand through the text. These approaches are again similar for both the roles. MG: So are you saying that an editor does not deal with forms of presentations, but with content mostly? I am going off topic a bit perhaps: I have pretty much been organising exhibitions online lately so I deal with space in a very different way, sometimes I think I am an editor because I feel that I work with a page, which, although to me it is an extension of what a magazine page could be, entails a very different interaction but at the same time is limited... AL: its confined. MG: Yes, its often all about the screen and what happens in relation to it. I envisage how people might be in front of a screen and sometimes I feel this is quite similar to dealing with a page of a book, although it is different too. AL: There is one crucial difference in my opinion. If you want this to happen within a physically defined screen, yes, it is quite similar. But if you think about the properties of the screen, the page is infinite and then you have a whole different world so... again... it depends on how you define the space. But you can make an exhibition in a magazine as well, and you can edit artworks that are only made of text, literature. And you can also be a skilled editor and be called a curator for a specific task. MG: Yes. AL: But still it is how you approach it. I understand this whole online thing, because the space online is hard to define. But again what I would do when it comes to online exhibitions, if I was really free to engage with it, is to think of not only the Web page itself but also all the incredible space that can emerge from a Web page. The full-length interview is available as downloadable PDF.
Dada design time space interaction interface software distribution video publishing technical networks
Marialaura Ghidini Alessandro Ludovico


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Moving into a new home is an exciting time, and you're probably daydreaming about decor and paint schemes and new furniture. But before you get into the fun stuff, there are some basics you should cover first.
Change the locks
Even if you're promised that new locks have been installed in your home, you can never be too careful. It's worth the money to have the peace of mind that comes with knowing that no one else has the keys to your home. Changing the locks can be a DIY project, or you can call in a locksmith for a little extra money.
Steam clean the carpets
It's good to get a fresh start with your floors before you start decorating. The previous owners may have had pets, young children, or just some plain old clumsiness. Take the time to steam clean the carpets so that your floors are free of stains and allergens. It's pretty easy and affordable to rent a steam cleaner—your local grocery store may have them available.
Call an exterminator
Prior to move-in, you probably haven't spent enough time in the house to get a view of any pests that may be lurking. Call an exterminator to take care of any mice, insects, and other critters that may be hiding in your home.
Clean out the kitchen
If the previous occupants wanted to skip on some of their cleaning duties when they moved out, the kitchen is where they probably cut corners. Wipe down the inside of cabinets, clean out the refrigerator, clean the oven, and clean in the nooks and crannies underneath the appliances.


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Open Records Policy
Pennsylvania's open records law expands public access to a wide array of government records. The law provides that requests be made in writing. As part of the policy, the Deborah Brooks has been appointed as the Right to Know Officer. All requests can be faxed, mailed, or dropped off at the Township Building. Please be advised that the Township has up to five business days to process requests.
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Pennsyvlania Act 44
Pennsylvania Act 44 was signed by the Governor in September, 2009. It amended Act 205. Specifically, Chapter 7-A of Act 44 requires the disclosure of certain information about any professional advisors receiving compensation for services provided to a municipal pension plan.
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Conditions of Use
Thank you for visiting the OLES' web site and reviewing our Use Policy. You should also be aware that the State has a Privacy Policy, also available on this web site. The State wants you to know about the collection, use, security, and access to information that may be obtained through use of the State's web portal. By visiting this web site, you are accepting the policies and practices described in this Notice. This Notice covers the following topics:
- Personal Information and Choice
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Please note that this Use Policy is subject to change without notice, and that it reflects the State's current business practices. This Use policy is dated December 7, 2000.
Also note that each department within the State may have additional privacy and use policies specific to the mission and needs of their work. Be sure to review those policies as you access additional sites within the State.
Personal Information and Choice
"Personal information" is information about a natural person that identifies or describes an individual, including, but not limited to, his or her name, social security number, physical description, home address, home telephone number, education, financial matters, and medical or employment history, readily identifiable to that specific individual. A domain name or Internet Protocol address is not considered personal information, however, it is considered "electronically collected personal information."
According to Government Code § 11015.5., "electronically collected personal information" means any information that is maintained by an agency that identifies or describes an individual user, including, but not limited to, his or her name, social security number, physical description, home address, home telephone number, education, financial matters, medical or employment history, password, electronic mail address, and information that reveals any network location or identity, but excludes any information manually submitted to a State agency by a user, whether electronically or in written form, and information on or relating to individuals who are users, serving in a business capacity, including, but not limited to, business owners, officers, or principals of that business.
"Electronically collected personal information" that we automatically collect includes your domain name or Internet Protocol address, and statistical information about which web pages you visit. If you voluntarily participate in an activity that asks for specific information (i.e., completing a request for assistance, personalizing the content of the web site, sending an e-mail, or participating in a survey) more detailed data will be collected. If you choose not to participate in these activities, your choice will in no way affect your ability to use any other feature of the web site.
If any type of personal information is requested on the web site or volunteered by the user, State law, including the Information Practices Act of 1977, Government Code Section 11015.5., and the federal Privacy Act of 1974 may protect it. However, this information may be a public record once you provide it, and may be subject to public inspection and copying if not otherwise protected by federal or State law.
Additionally, departments and agencies of the State of California under the authority of the Governor are required to adhere to the Privacy Policy which is also accessible on this web site.
A Special Note About Children
Children are not eligible to use services that require submission of personal information, and we require that minors (under the age of 18) do not submit any personal information to us. This includes submitting personal information to the State as part of a user profile or personalization profile. If you are a minor, you can use these services only if used together with your parents or guardians. If you are a minor, you should seek guidance from your parents.
If the State decides to begin collecting personal information from children, it will notify parents that it is being requested, disclose the reasons for collecting it, and disclose our intended use of it. The State will seek parental consent before collecting any personally identifiable information. If it does collect it, parents may request information on the type of data being collected, view their child's information, and, if they choose, prohibit the State from making further use of their child's information. The State will not provide personal information about children to third parties.
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We do collect personal information directly from individuals who volunteer to use some of our services. Collection of this information is required to deliver the specific services, but use of these services is voluntary.
If you do nothing during your visit to the web site but browse or download information, we automatically collect and store the following information about your visit:
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Government Code § 11015.5.(a)(6) prohibits all state agencies from distributing or selling any electronically collected personal information, as defined above, about users to any third party without the permission of the user. The State does not sell any "electronically collected personal information." Any distribution of "electronically collected personal information" will be solely for the purposes for which it was provided to us.
The State may provide or distribute certain lists and statistical reports of regulatory information as provided by law, but no personal information is sold or distributed, and all relevant legal protections still apply to the State's web sites.
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If you choose to submit information to us, the information will be transmitted through secure lines to our departmental database. Any private information will only be used for the purposes for which it was provided and will not be shared with another entity except as prescribed by law. Please see our Privacy Policy for additional information.
Use of Internet Request for Assistance Form Information
Any information you provide to us will only be shared with entities involved in your case as necessary. Information you provide may be included with other consumers' information to be used for statistical reporting, trending data, and/or investigative actions. For example, we may need to retain information that becomes part of an enforcement action or consumer complaint case for a period of time after the closing date of the case.
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You may choose to provide us with personal information, as in e-mail with a comment or question. We use the information to improve our service to you or to respond to your request. Sometimes we forward your e-mail to other State employees who may be better able to help you, and this staff may be employed by a different agency within the State. Except for authorized law enforcement investigations or, as required by law, we do not share our e-mail with any other organizations.
We use your e-mail to respond appropriately. This may be to respond to you, to address issues you identify, to further improve our web site, or to forward the e-mail to another agency for appropriate action.
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All information collected at this site becomes public record that may be subject to inspection and copying by the public, unless an exemption in law exists. In the event of a conflict between this Use Policy and the Public Records Act, the Information Practices Act, or other law governing the disclosure of records, the Public Records Act, the Information Practices Act, or other applicable law will control.
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Under Government Code § 11015.5., if you choose, you may have any personal information collected about you discarded without reuse or distribution, provided we are contacted in a timely fashion.
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The State makes every attempt to avoid the use of cookies. When needed to maintain the functionality of an application, unlike the common usage of cookies, the State only uses cookies during the session in which you access our interactive applications.
Cookies created on your computer by using this web site do not contain "personal information" and do not compromise your privacy or security. We use the cookie feature only to store a randomly generated identifying temporary tag on your computer. You can refuse the cookie or delete the cookie file from your computer by using any of the widely available methods. However, if you turn your cookie option off, you may not be able to access some of the features in our interactive applications.
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Our web site has links to sites we feel might be useful to you and which may provide services. When you link to another site, you are no longer on our site and are subject to the privacy policy of the new site.
The State of California accepts no responsibility for the content or accessibility of the external websites or external documents linked to on this website.
This web site and the information it contains are provided as a public service by the State of California. This system is monitored to ensure proper operation, to verify the functioning of applicable security features, and for comparable purposes. Anyone using this system expressly consents to such monitoring. Unauthorized attempts to modify any information stored on this system, to defeat or circumvent security features, or to utilize this system for other than its intended purposes are prohibited and may result in criminal prosecution.
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This Use Policy is subject to change without notice.
In general, information presented on this web site, unless otherwise indicated, is considered in the public domain. It may be distributed or copied as permitted by law. However, the State does make use of copyrighted data (e.g., photographs) which may require additional permissions prior to your use. In order to use any information on this web site not owned or created by the State, you must seek permission directly from the owning (or holding) sources. The State shall have the unlimited right to use for any purpose, free of any charge, all information submitted via this site except those submissions made under separate legal contract. The State shall be free to use, for any purpose, any ideas, concepts, or techniques contained in information provided through this site.


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For most people, silence is golden. For people suffering with tinnitus, that silence can be miserable. Even the quietest of moments, such as sleep, can be filled with buzzing, humming or ringing sounds. This unfortunate condition is called tinnitus. According to the National Institute on Deafness and Other Communication Disorders (NIDCD), it has affected nearly 25 million Americans to date. While there is presently no cure for this condition, there are options to help.
Tinnitus is primarily caused by prolonged exposure to loud noises but also can stem from aging, head injuries or side effects from medications. For many of those afflicted, the impacts can be grave as the perpetual ringing can cause difficulties in mood, concentration and sleeping. While there are no curable options, different treatments can be used to help ease the suffering from the condition or help reduce the degree to which it is prevalent. These treatments include counseling to help in coping with the effects of tinnitus, sound therapy using subtle background noises to lessen the effects and, in some cases, hearing aids have been able to help provide relief though amplification of other sounds.
If you or someone you know suffers from ringing in the ears, the staff at Ascent Audiology & Hearing want to help evaluate treatment options to possibly lessen the effects of tinnitus. Simply fill out the Contact Us form and we will readily supply more information or contact you to schedule a free hearing evaluation and consultation.
Happy Hearing!
Dr. Amy Holland


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FLASHBACK: Slash, Conan O'Brien Go Craigslist Guitar Shopping
Slash celebrates his birthday on July 23. Instead of looking back at the many moments that have cemented him as one of the coolest guitar heroes of all time, let's look back at one of Slash's more humorous moments in his career.
We've all been tempted by guitar deals online, but sometimes they can be a bit sketchy. Fortunately, Conan O'Brien made this segment and brought Slash along to shop for guitars he found on Craigslist. Of course, the rest of us won't have Slash by our side to make sure we're not getting jobbed on a sale, but we all can dream.
Slash can be seen clearly grinning at Conan's antics. They ended up not buying a guitar, but both Slash and Conan didn't leave empty-handed from the third seller they visited, who was clearly a bit of a hoarder.
Guns N' Roses: All 87 Songs Ranked
There are two songs in particular in the GN'R catalog that are top contenders for the band's worst song. One of them is a stylistic nightmare, while the other is a racist/homophobic/xenophobic mess that was controversial when released over three decades ago. The latter is "One in a Million" from 'GN' R Lies.' It's so bad that when 'Lies' was included on the reissue of 'Appetite For Destruction' in 2018, "One in a Million" was omitted. Just look up the lyrics to figure out why.
Is Axl Rose trying to rap or put his take on industrial music? Perhaps it's both. Regardless of what exactly is going on here, this brought an underwhelming and bizarre end to an otherwise solid double album. While it only clocks in at 1:26, it's 1:26 too long. But hey, at least it doesn't contain hate speech!
No one asked for a cover of a Charles Manson song back in 1993, and frankly, no one wants the cover now. The song was a hidden track on 'The Spaghetti Incident?' for a reason...or maybe reasons. Let's just move on, shall we?
"The Plague" was a germ of an idea, but it didn't really develop past the 55 second clip recorded as part of the 1986 Sound City Studio Sessions. The band obviously had better ideas in the tank that they pursued and understandably so.
"Oh My God" would be the first song released under the GN'R name in five years, with the previous being the band's cover of "Sympathy for the Devil" featured on the soundtrack of 'Interview with the Vampire.' Another soundtrack song, "Oh My God" sounds like Axl trying to channel his best Marilyn Manson but coming up short.
Give credit to GN'R for taking such a risk with this Skyliners cover, but this cover just doesn't land.
Believed to be about the then-Iraq war, "Riad N' the Bedouins" just fails to truly impress unlike other songs on 'Chinese Democracy.'
A lot of double albums could use some pruning, and 'Use Your Illusion I & II' is no exception. "Bad Apples" is definitely a track that could've been left off, and no one would really miss it.
Look...this U.K. Subs cover is in no way bad, but Axl Rose's attempt at an English accent while singing is far too distracting to truly enjoy the song.
Not sure if there's an award for "Catchiest Songs About Murdering Your Significant Other," but if there is, "Used to Love Her" would at the very least be in the running. The only thing about this song that has really aged well is its melody, which is still a solid earworm.
Covering T.Rex's "Buick Makane" totally makes sense considering Marc Bolan's influence on glam and punk, but mashing the song together with Soundgarden's "Big Dumb Sex" is still a head scratcher all these years later.
"Perfect Crime" follows "Don't Cry" in the 'Use Your Illusion I' tracklisting, and perhaps it was included as a quick pallet clenser after such a bombastic ballad. The song isn't bad by any stretch, but GN'R have plenty other songs in their catalog that are more memorable.
Clocking in at 10:13, "Coma" is the longest song in the entire GN'R catalog. While they have plenty of epics, this one just struggles to hold the listener's attention.
I took a "History of Rock and Roll" class in college, and the instructor said he wasn't a "big lyrics guy" and cared more about the musical composition of the song. If you're looking for a prime example of lyrics mattering, look to the alt. version of "Don't Cry" found on 'Use Your Illusion II.' The song is musically the same as the version of "Don't Cry" on 'Use Your Illusion I,' but the lyrics just don't land the same and it's difficult to ignore.
"Locomotive" is quite the journey clocking in at 8:42. Fortunatley, there's some stops along the way in the form of guitar solos from Slash. (There's four to be exact.)
If you ever imagined what Axl Rose would be like if he were a professional wrestler, just listen to the very appropriately titled "Get In The Ring," which is basically Axl cutting an angry promo on various music journalists. The lyrics seem almost right at home during "Attitude Era" WWE, but they're a bit cringy now, much like a lot of "Attitude Era" WWE.
The industrial influence is strong with this track, as is its incredibly catchy chorus. "Shackler's Revenge" was the first 'Chinese Democracy' song to receive an official release when it was included on 'Rock Band 2.'
Banjo, piano AND the return of Axl's whistlling? There's something here for everyone! No really...there's even a spoken word portion of Axl reciting a monologue from the 1971 film 'Vanishing Point.' Bonus points, however, go to this lyric: "Funny how everything was roses when we held on to the guns." We see what you did there, Mr. Rose.
Axl's signature wail is on full display on "Scraped," as is the feeling of exreme defiance which is made pretty clear in lyrics like, "Sometimes I feel like the world is on top of me/Breaking me down with an endless monotony/Sometimes I feel like there's nothing that's stopping me/All things are possible, I am unstoppable."
Nothing says "jilted lover" quite like calling on the President, a private eye, the I.R.S and the F.B.I. in order to "make this a federal case...wave it right down in your face." Basically, if you ever wanted to get the feeling of what it would be like to have a messy breakup with Axl Rose, just listen to "I.R.S."
Notable for the guest vocals of Sebastian Bach, "Sorry" is super moody and makes you wonder who exactly pissed Axl off with lyrics like, "You know that I got under your skin/You sold your soul but I won't let you win/You talk too much, you say I do/Difference is nobody cares about you." Sick burn!
"I hoped she'd never leave me/Please God you must believe me/I've searched the universe/And found myself/Within' her eyes." Seriously, Axl...who did this to you?!
The 6:41 "There Was A Time" is a ballad with a hard rock chorus that also features some very dramatic strings and piano. To put it lightly, there's a lot going on here. Then again, that is kind of the overarching theme of 'Chinese Democracy' as a whole.
"Don't Damn Me" is perhaps the most impish song about censorship ever. It's also punctuated with one of the most unintentionally funny lyrics ever: "Smoke 'em if you got 'em/Alright, that sucked!"
Is it a rock song or an exercise in how to regulate your breathing while singing at a break-neck pace? Maybe it's both. Also, it's difficult to hear this song and not think about its fish eye lens music video, which was the effect of choice in so many '90s music videos.
Four tracks into 'Chinese Democracy,' listeners are greeted to this grandiose left-turn of a ballad. Once you adjust to the sudden genre whiplash, it's rather enjoyable. The kids on 'Glee' would've sang the s--- out of it, and I do mean that in a nice way.
By time "Back Off Bitch" came out on 'Use Your Illusion I,' the song had been ten years in the works. The origins for the song are far more deeper than any breakup, too. Rose said of the song in a 1992 'Rolling Stone' interview, "I've been doing a lot of work and found out I've had a lot of hatred for women. Basically, I've been rejected by my mother since I was a baby. She's picked my stepfather over me ever since he was around and watched me get beaten by him. She stood back most of the time. Unless it got too bad, and then she'd come and hold you afterward. She wasn't there for me. My grandmother had a problem with men. I've gone back and done the work and found out I overheard my grandma going off on men when I was four. And I've had problems with my own masculinity because of that. I was pissed off at my grandmother for her problem with men and how it made me feel about being a man. So I wrote about my feelings in the songs."
Another woman done broke Axl's heart, but fortunately this time he gets pretty clever with the lyrics: "I was only a small child when the thought first came to me/That I'm a son of a gun and the gun of a son that brought back the devil in me."
"Anything Goes" alluded to S&M, but "Pretty Tied Up" dives right into the world of kink and brings the sitar along for the metaphorical ride.
GN'R's take on Fear's "I Don't Care About You" would've been the perfect way to close out 'The Spaghetti Incident?'. It's a screaming delight! But no, the perfect ending was mucked up with the hidden track of the Charles Manson song "Look at Your Game, Girl," which, once again, no one asked for.
"Black Leather" was a deep-deep cut from the Sex Pistols that would later be recorded and released by The Professionals, the post-Pistols group formed by Steve Jones and Paul Cook. Considering the punk influence on 'The Spaghetti Incident?', it's no surprise a song like this made the cut. Jones and McKagan are noted pals in the rock world and even were in a band together, the Neurotic Outsiders, following McKagan's exit from GN'R.
Whomever or whatever Axl is mad at on "Shotgun Blues" clearly brought out some of his most colorful insults this side of "Get In The Ring": "And you, you can suck my ass an' I think it is so low class/Me? I'm just so concerned, I'm still waitin' for your ass to burn."
There's no other way to explain this, but "If the World" is the sound of Axl Rose trying to seduce someone, and to seal the deal, he's brought some hot-ass bass to the party. Despite how that reads, these are not bad things.
Best song about an annoying neighbor ever? Okay, so maybe it's the only known song about having an annoying neighbor, but thank goodness Axl (alegedly) hit his neighbor with a wine bottle, was sued over the incident which let to him being pissed off enough to write this aggressive tune.
A instrumental track from the 1986 Sound City Studio Sessions, "Ain't Goin' Down No More" is yet another example that even before Guns N' Roses became the biggest band in the world, they were definitely rock stars in the making and some serious magic was cooking between these musicians.
GN'R's resident punk Duff McKagan shines on this track, which he wrote and serves as a tribute to one of McKagan's late heroes, Johnny Thunders. As great of a frontman as Axl Rose is, it's amazing that GN'R still had two incredible singers-- McKagan and Izzy Stradlin' -- in the band, too.
A jaunty instrumental, "New Work Tune" is the sound of Slash and Izzy Stradlin just messing around with a great groove. Even before they became guitar gods, "New Work Tune" serves as an early sign that there was something very special about their partnership.
As far as GN'R's covers go, this is perhaps one of the deepest cuts they have in their catalog. Off of Black Sabbath's 1976 album 'Technical Ecstacy' and sung by drummer Bill Ward, this stripped live cover featuring Axl at the piano shows Mr. Rose's range and his obvious appreciation for the legends that paved the way for him and the rest of the band.
Once again, have we mentioned there's a lot going on on 'Chinese Democracy'? Well, to drive home that point, take a listen to "Madagascar," which features audio clips from 'Cool Hand Luke' (clearly a favorite film of Axl's), 'Braveheart' and 'Seven.' As if that weren't enough, also included in the track's audio samples is Dr. Martin Luther King, Jr.'s "I Have a Dream" speech.
Brash and fast (both in literal tempo and time length), this Misfits cover is yet another showcase for resident punk Duff McKagan and yet another example of maybe GN'R should've featured more punk elements in their sound.
The guitars of Ron "Bumblefoot" Thal and Paul Tobias are simply outstanding on "Catcher in the Rye," an incredibly over-the-top ballad.
Duff McKagan is the star of this cover, literally. Not only is he the lead vocalist, he also provides the guitar, bass and drum tracks, too. Seriously, if you needed a reminder of how badass McKagan is, just take a listen to "You Can't Put Your Arms Around a Memory."
The title track of 'Chinese Democracy' was the only official single release from this infamous album, and considering the pressure there was upon its release, it fair pretty well on the charts where it peaked on the Billboard Hot 100 at no. 34. It also was a regular part of the setlist on GN'R's "Not In This Lifetime" reunion tour with Slash and Duff McKagan. And yes...while it's been said countless times, it is still weird to see Slash and Duff play 'Chinese Democracy'-era songs.
Elvis Presley didn't live to hear GN'R's cover of "Heartbreak Hotel." It's anyone's guess what he would've thought of it, but he probably would've got a kick out of a bunch of kids in 1986 embrassing the song, who would also go on to make parents nervous similar to how he did in the 1950s. The Sound City Studios Sessions track surfaced thanks to the 2018 reissue of 'Appetite.'
If you're a fan of acoustic slide guitar, then you probably love "You Ain't the First," a solid, straight-forward breakup song. Also, if you aren't a fan of acoustic slide guitar, what is wrong with you?
GN'R's 1986 Sound City Studios Sessions featured on the massive 2018 reissue of 'Appetite' features a number of interesting gems, including this cover of the Rolling Stones' "Jumpin' Jack Flash," which really just sounds like a bunch of young musicians rocking out to one of their favorite songs and having a lot of fun in the process. If you haven't listened to this cut before, do so because there's a lot of joy to be had here.
If you would've told Axl Rose back when this live cover of "Whole Lotta Rosie" was recorded that he'd be fronting AC/DC three decades later, he probably wouldn't believe you, and you couldn't blame him, really. However, this cover is definitely early proof of Axl's fandom of the Aussie icons. Unrelated note: Axl really doesn't get enough credit for getting deeper Bon Scott cuts added to the set list when he was on the road with AC/DC.
A supremely over-the-top album should have a grand conclusion, and "Prostitute" more than fits the bill. The guitars are big, as is Axl's voice, and supposedly, actor Nicolas Cage loves this song. (You can file that fun fact under, "Huh...neat.")
"Turned into my worst phobia/A crazy man's utopia/If you're lost no one can show ya/But it sure was glad to know ya." Between the song's lyrics and its music video full of Manhattan visuals, "The Garden" is almost like a New York answer to The Eagles' "Hotel California," which is very weird considering GN'R is based firmly in Los Angeles. Bonus points for featuring vocals from Alice Cooper, who is like the bacon of rock and roll; adding him to anything just makes it better.
Much like "November Rain," it's difficult to think of "Estranged" and not think about its music video. (FYI: It's the final installment of the Del James-inspired trilogy following "Don't Cry" and the aforementioned "November Rain." Personally, I refer to the video as "The one where Axl jumps off a massive ship and swims with dolphins.") Anyway, this song is good, but it could've been great if it just trimmed a verse/bridge or two. I understand excess, but sometimes "more" is "too much."
In case you didn't think The Stooges' "Raw Power" couldn't get more frenetic, just take a listen to GN'R's version. Plus, Axl and Duff sharing the lead vocals is just a nice touch.
'The Spaghetti Incident?' is really just a fun experiment of what GN'R would've been like if they leaned more into their punk influences and if Duff McKagan had more control of the reins. Their cover of The Damned's "New Rose" with McKagan on lead vocals is one of the best examples of that.
Fact: If everyone listened to the New York Dolls more often, we'd just be better people. Considering the energy brought to this cover, GN'R likely concured. Also, who doesn't love the fact Axl's kazoo playing was so prolific that it warranted credit on the track?
If you ever questioned whether Guns N' Roses were the rowdier, bastard children of Aerosmith, just listen to their take on "Mama Kin." They don't stray too far away from the source material, but with a classic like this, you really don't have to.
Simply put, this cover of this Nazareth classic is one of the highlights on 'The Spaghetti Incident?' The song already dripped with attitude, and then GN'R put their stank on it. Just a fun jam all around.
Guns N' Roses was born from the group Hollywood Rose, and "Reckless Life" was written while this group was still active. Think of it as almost GN'R's origin story of sorts. It's gritty, memorable, and it showed the potential of the musicians who wrote it.
If you weren't familiar with Dead Boys, you might be tricked into thinking GN'R snuck some lost original track on their covers album, but that's not the case. Add in Hanoi Rocks' Michael Monroe on co-lead vocals, and you really have a bright spot on an album that would be the last studio appearances under the GN'R name from Slash, Duff McKagan and Matt Sorum.
There's something very admirable about Guns N' Roses and their ability (or chutzpah) for taking on some of the biggest, most popular rock songs of all time and making them their own while also paying tribute to those who made those songs famous. GN'R was certainly the Rolling Stones for a new generation and that sentiment was driven home with this cover of "Sympathy for the Devil."
"Shadow Of Your Love" was released as part of the 1988 'Guns N' Roses' EP that was only released in Japan, but the track would finally get its first official release in the United States in 2018 as part of the Super Deluxe reissue of 'Appetite for Destruction.' It's kind of amazing it took so long for the track to get an official release, because it certainly stands up to much of 'Appetite'-era tracks. I guess file this one under "Better late than never."
When it comes to 'Appetite,' most might point to "Sweet Child O' Mine" as the prime example of GN'R showing their softer side, but people shouldn't sleep on "Think About You." It may not have been a massive hit single like "Sweet Child..." but it's just as sweet.
Anyone who thinks horns don't belong in hard rock really needs to listen to "Move to the City." Izzy Stradlin is the lead songwriter on this track, and even if you didn't know that, the entire song drips with his style and influence.
Before making a big splash with "You Could Be Mine" in 'Terminator II,' GN'R's first big soundtrack appearance came with this recorded cover of Bob Dylan's "Knockin' on Heaven's Door" for the 1990 Tom Cruise vehicle 'Days of Thunder.' Certainly less gritty than the version featured in an MTV GN'R concert special from 1988, it's just as powerful.
Another 'Chinese Democracy'-era song heavily featured on the set list of the "Not In This Lifetime" reunion tour with Slash and Duff McKagan, the song is put over the top thanks to the backing vocals of Tommy Stinson, Dizzy Reed and Chris Pitman.
"Anything Goes" isn't going to win points for subtlty or romance, unless you think lyrics like "Panties round your knees/With your ass in debris" is romantic. (If you do, no judgement.) Where it does win points is for being a straight forward, gritty, unapologetic hard rock song. Nothing fancy, just badass.
"You're Crazy" is an incredibly strong track, but there are so many iconic tracks on 'Appetite' that it can almost just lost in the shuffle. Of course, you'll read more about the acoustic vesion of "You're Crazy" in a little bit.
A bitter-sweet tune about growing up and moving on, "Yesterdays" is the type of tune that hits right in the feels if you're not fond of taking trips down memory lane. After all, "Time just fades the pages/In my book of memories."
Another song written by Izzy Stradlin, and it's yet another example of just how damn cool he is and what he brought to GN'R. It can't be stressed how much he would've brought to GN'R's "Not In This Lifetime" reunion, especially with killer grooves like "Double Talkin' Jive."
A standout track on 'Use Your Illusion I,' think of "Bad Obsession" as the bluesier sister song to "Mr. Brownstone." Its heavy blues influence makes loads of sense since its primary songwriter was Stradlin.
Few individuals can make paranoia sound badass quite like Axl Rose. Who knows what he's being accused of, but by the end of the song, it's hard not to side with Axl in being "f*cking innocent."
Easily one of the best covers in GN'R's catalog (and there are plenty), the band's take on the Wings classic gives the song a heavy dose of edge and attitude. The cover would earn GN'R a Grammy nomination for Best Hard Rock Performance with Vocal, but they would lose out to the Red Hot Chili Peppers' "Give It Away."
Music history is litered with beautiful songs that feature womens' names in the title, but this one is far from a warm, fuzzy ode. The real-life influence for this track was Michelle Young, a classmate of Slash and Steven Adler's. Michelle said in passing to Axl Rose while in the car with him how she wished someone wrote a song about her after hearing Elton John's "Your Song" on the radio. So, this wasn't really what she'd envisioned. On the plus side, Michelle would go on to live a pleasant life.
In what might be a mild controversial pick on this entire list, the acoustic version of "You're Crazy" outranks the electric version from 'Appetite.' Truthfully, the acoustic version somehow has more bite, but it just wouldn't have worked on 'Appetite' for obvious reasons.
One of the most underrated contributions Guns N' Roses made to rock was introduce a number of people to Rose Tattoo thanks to their cover of the Aussie band's "Nice Boys" from their 1978 self-titled debut. GN'R put their own blistering take on the track, and it's a standout cover in their catalog that's littered with covers.
"14 Years" is yet another example to point to at how cool and missed Izzy Stradlin is, especially with the current GN'R reunion. If you're not convinced, track down the live version of "14 Years" from 2012 when Stradlin made a surprise appearance during the band's show at London's O2 Arena. (And no, the fact that "14 Years" is number 14 on this ranking wasn't planned. That was just a happy accident.)
The last thing fans likely expected from GN'R post 'Appetite' and 'Lies' was an anti-war song, but that's what they got with "Civil War." The track first appeared on the 1990 compilation album 'Nobody's Child: Romanian Angel Appeal' before being released as the opening track to 'Use Your Illusion II.' Its poignancy still resonates today and likely will for many years to come.
Mixing raunch and tenderness, "Rocket Queen" brings 'Appetite' to a unique and very memorable ending. Its lyrics are surprisingly loving, but then there's the infamous bridge with the...ahem...actual sounds of love making between Axl and Adriana Smith, the then-girlfriend of Steven Adler, in the recording studio. However, once the sounds of GN'R (and the moaning) bring the album to a close, you realize that you heard one of the greatest albums of all time.
"I used to do a little, but a little wouldn't do, so the little got more and more. I just keep trying to get a little better, said a little better than before." With lyrics like those and the title itself, the only other song in rock history that's more obvious about being about heroin is the Velvet Underground's "Heroin." Despite its grizzly subject matter, "Mr. Brownstone" remains one of the strongest songs in GN'R's entire catalog.
Izzy Stradlin was sorely missed on GN'R's "Not In This Lifetime" reunion tour for many reasons, but "Dust N' Bones" might be the biggest reason why. While pretty much everything the band released before 'Use Your Illusion' dripped with swagger, Stradlin's vocals added a heavy dose of bluesy sophistication to the equation that no one in the band's lineup history has been able to come close to breaching. Had Stradlin rejoined the band and if "Dust N' Bones" was part of the setlist, it would undoubtedly be a standout moment every night.
As far as songs about cheap wine go, "Nightrain" is definitely the most badass and for sure has the best hook. Also, it features easily one of the best uses of cowbell ever. (No one tell Gene Frankel/Will Ferrell.)
When most think of Guns N' Roses, they think of a badass rock band, but their catalog is filled with plenty of downright sweet love songs, and "Don't Cry" is certainly one of their best. Plus, when you add in the guest vocals of the late Shannon Hoon (before Blind Melon's debut was released) harmonizing with Axl Rose, it just puts this song over the top.
This song could just be Duff McKagan's opening bass riff and it would still be incredible. Of course, everyone is firing on all cylinders, epecially Axl who ends this hard rock gem with some of the best screeching in recorded history.
The only thing more stunning than the thought of an actual Paradise City (where the grass is green and the girls are pretty) is the fact that this nearly seven minute banger doesn't seem that long at all AND it still gets played on the radio today in its entirety. Aside from "Sweet Child o' Mine," "Paradise City" is easily the most accessible track on 'Appetite for Destruction' proving that hard rock can be for everyone.
"November Rain" is both a sonic and visual epic. Axl and his piano and Slash and his two massive guitar solos are the stars of this nearly nine-minute ballad, which technically qualifies as a power ballad but manages not to cross into the relm of cheese. Of course, even when listening to "November Rain," you can't help but think of its decadent music video. From Slash walking out of the church to Stephanie Seymour's mullet wedding dress, some of the scenes are the most-memorable in music video history. Fun fact: "November Rain" was the first music video released before the invention of YouTube to reach 1 billion views.
Great whistle solo or greatest whistle solo? Wherever you fall on that debate, there's no question that "Patience" is one of the best rock ballads of all time and proof that even when performing acoustic and when Axl brings his trademark wail and growl down to a purr, GN'R could still manage to move mountains.
"You Could Be Mine" provided two intros (besides the sweet 1:06 one on the song itself): It was the first peek at what fans could expect from the 'Use Your Illusion' albums, and it was the first track from GN'R to feature new drummer Matt Sorum who was brought in after Steven Adler was kicked out of the band after infamously taking too many drugs. Sorum's drum track is outstanding as is everyone on "You Could Be Mine." It's big without sounding bloated and polished but not lacking grit. James Cameron couldn't have asked for a better theme for 'Terminator II.'
For those that aren't hard rock fans and don't really know a lot about Guns N' Roses, they likely at least know "Sweet Child o' Mine." Slash, of course, shines on this classic from his instantly recognizable intro riff to his massive solo. And let's face it: most of us at point or another has thrown on a headband and did that swaying dance Axl Rose does in the video while lip syncing the song in the mirror. (Don't make that face. Yes, you did! No one likes a liar!)
What can really be said about "Welcome to the Jungle" that hasn't already been said? One of the best, if not THE best opening track on a debut album ever? Yes. A warning shot to sub-par hair bands taking up too much space on the Sunset Strip? Undoubtedly. In the passing years, "Welcome to the Jungle" has become a magical tune that's a staple on Active Rock and now Classic Rock radio. Sure, the song may fall under the Classic Rock label based on its age, but "Welcome to the Jungle" still sounds as fresh as ever. It's the timeless statement that every rock band dreams of writing, and this will likely be so until the sun finally explodes and the world ends or climate change finally gets us. Whichever comes first!


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The FHT aims to establish a portal for the world's falconers and other interested parties to access aspects of the sport's rich heritage by linking existing physical archives, including international private and public collections, through the medium of an electronic archive. This archive features falconry furniture, works of art, books, correspondence from leading falconers and film and photographic material for the education and interest of falconer and scholar alike. We hope that, whatever your background or interest in our sport, you may find something of value through our archive to deepen your knowledge, understanding and passion for falconry and will help us, through your support, to preserve this precious cultural heritage for future generations.
Falconry Heritage Trust
P.O.Box 19
Phone: within the UK (01267) 233864
and from abroad +44 1267 233864
Fax: within the UK (01267) 233864


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Brand: mDesign
Color: Coffee/Espresso
- STYLISH SMART STORAGE: This furniture stand boasts a lightweight design while still providing plenty of storage space; Wood top provides a hard surface to place lamps, books, decor, and more; The generously sized removable drawers have an easy pull handle to make opening and closing simple; Plastic feet will not scratch flooring, and they are adjustable for uneven surfaces; Elevated side handles make it easily portable so you can move it anytime
- FUNCTIONAL & VERSATILE: Create coordinated organization in any room of the house; Great for children, tweens and adults; Use anywhere you want to add a little style to your organizational needs; This easy-to-use chest of drawers can be used in multiple rooms throughout the home; Great for closets, bedrooms, nurseries, playrooms, entryways and more; Ideal for small spaces such as apartments, condos and college dorm rooms
- QUALITY CONSTRUCTION: Made of breathable non-woven synthetic fabric; Strong steel frame and durable MDF wood top and drawer handles; Plastic feet protect floors; Hardware is included for hassle-free installation; Easy Care - wipe clean with a damp cloth and allow to air dry
- THOUGHTFULLY SIZED: Measures 11.4" x 31.5" x 31" high
- 7 DRAWER CHEST: Features 7 removable drawers; Use in or out of the closet and keep clutter under control by storing all of your clothing and accessories in one convenient place; Store and organize workout gear, leggings, yoga pants, sweaters, linens and more; The vertical design fits easily in many locations throughout the home; Use as a nightstand and keep your alarm clock, journal, glasses close at hand; Mix & match with other mDesign storage organizers for endless organizational possibilities
Publisher: MetroDecor
Details: Create stylish storage with this Seven Drawer Vertical Dresser Storage Chest from mDesign. The organizer separates and stores all of your wardrobe and linen essentials and makes it easy to find and grab what you need right away. Seven removable drawers separate and organize clothing and accessories like hats, socks and shoes, scarves, blankets and more in one convenient place. They offer roomy space for storing out of season clothing, shoes, purses, scarves, bedding, linens and more. The classic fabric adds stylish storage to any bedroom closet, laundry area or other storage space in your home, and a wood top provides a hard surface to place lamps, accessories, home decor and more.
Package Dimensions: 33.7 x 13.0 x 6.7 inches


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Michael Barnett (born 1971), better known by his stage name Big Mike is an American rapper from New Orleans, Louisiana. He was originally a member of Convicts with Houston rapper Mr. 3-2. Its album would be the first of many releases Mike would put out on Houston-based Rap-A-Lot Records. Following the release of the eponymous Convicts, Big Mike impressed the heads of Death Row Records and almost signed with that label before he was called by James Prince and asked to replace Willie D when he left the Geto Boys. He accepted and became a part of the group on its 1993 album Till Death Do Us Part. When Willie D rejoined the group on its next album, he left the group. Big Mike has released five solo albums thus far, Somethin' Serious in 1994, Still Serious in 1997, Hard to Hit in 1999, Keep it Playa in 2006, and Serious as Can Be in 2009. Still Serious was his highest-charting album, peaking at #16 on the Billboard Hot 200.
Buy More is a fictional big-box electronics retail chain in NBC's action-comedy series Chuck. The Buy More is a parody of similar chains, particularly Best Buy.
The notable employees of the Buy More fit into three categories: management, Nerd Herd (technical support), and sales associates (who are called "Green Shirts" on account of their uniforms). Current and recent notable employees are listed by their last held position.
The series' eponymous character Chuck Bartowski, and most of the principal characters, are employed at the Burbank branch of the Buy More for most of the entire series. The store is located at 9000 Burbank Boulevard. Every episode touches on the store at some point, whether for a substantial comedic side plot or as the scene of some of the series' spy action, particularly in the first two seasons. The Burbank Buy More is involved in a fierce rivalry with the nearby Beverly Hills location, often involving vicious pranks between the stores, as highlighted in "Chuck Versus the Predator". Neighboring "big box" stores in the shopping center are Large Mart and Underpants Etc. The employees of Buy More and Large Mart have a fragile truce concerning pranks and sabotage of each other's store. Restaurants across the parking lot include Wienerlicious, a fast-food retailer specializing in hot dogs and sausages, in season 1; Orange Orange, a frozen yogurt store, in seasons 2 and 3; and a Bennigan's.Sarah Walker maintains a cover as an employee of the Wienerlicious and, subsequently, the Orange Orange. The Orange Orange – like the Buy More – is a façade for, and secret entrance to, the underground Castle base.
These niggas ain't feelin us
It's the best kept secret, baby
Down south
We got women on the beach
Swerve on streets
Players ridin drop
And the flips won't stop
[Verse 1]
Now tell me what y'all know about a player like me comin through steppin
I'm wreckin, New Orlean'an, and in 1984 turned Texan
Lyrically flexin I made a name for myself
Gained love, not in clubs, on streets, and I dealt
With these playa-hatas out here among us in the game
I had to pass em by cause it really wasn't my thing
Now don't you wanna scream it like you mean it
To them fools who said I couldn't do it
The ones that said that if I left the group, then I'd be ruined
Keep on doin what you're doin
That's what my conscience said, use your head, and you'll win
Cause them haters who I thought was my partners, wasn't really my niggas
They reneged, they couldn't stand to see me get big in the business
That's why they player-hated me
Talkin my business to them broads like we related, gee?
It never faded me cause I know where my head is at
Know where I'm headed at, that's why I keep on makin...
Now the deeper the root
The bigger the square of the loot
When people think of the bomb shit, they think of the boon, fool
I'm speakin the truth, partner, seek and you'll find
Southern dialect, I'm regulatin, that's how I gets down for mine
[Verse 2]
It's on to the break of dawn
So why should I stop kickin these fly-ass rhymes
That's puttin these knots in my pocket? I'm
About to rock until I can't no mo'
I'm takin this here all the way to the bank for dough
Cause y'all know, as long as players turn into rappers
And rappers turn into actors, all these broads'll be gettin atcha
Now which non-believin MC wanna see what time it is?
The rhymin wizard's about to show you haters what southern rhymin is
I'm bombin kids, I show no mercy on a braveheart
Put it down in '94, and never gave thought
Caught every ???, every ass, checks got cashed
Fools got slung like the trash, I mash
>From the scene, never seen by no witnesses
Partner, don't try to play dumb, look, you know what this is
Quit the biz cause y'all ain't ready for the outcome
No doubt, son, I'm from the south, and never lost a bout, son
[Verse 3]
Now, don't step, or you'll get ruined, mayn
I got you trippin on the way a soldier's like me over here doin things
You knew the game, but you blew it again
Now the head honcho is back, so non-believers, hand over your ring
Give it up or get broken down
It's goin down now, Mike Dean supplied the potent sound
So now you know it's a southern thing
I'm handlin things, I bust a rhyme and do damage to any man you bring
I'm serious, I told you that way back in '94
They wanna flow, it ain't no thing, just let the record go
Didn't you know I bust from southwest to southeast?
Blessed by the best with this platinum-plated mouthpiece
So I give thanks, then it's off to the bank
Protected by forces unseen, so I ain't gettin ganked
As for the fakers and the haters
Small things ain't nothin to a player
I'm all about my paper
I stacks my chips and then I break
Gather up my crew to Mike-a-nize, then we go and rock another state
Forget what another say, I'm backed up by my actions
Produce a dope hit, make a lick, and leave em askin
Who is Big Mike? and like that I'm back atcha
Partner, handle your businesss, I ain't mad atcha
Million dollar lyrics I compose leave a pattern for quality stature


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Ingrown toenails, also known as onychocryptosis, can be annoying and painful. This common condition occurs when the surrounding skin on one or both sides of the nail grows over the edges of the nail, or when the nail itself penetrates the skin. As the nail digs into the skin, redness, swelling, and pain are often the result.
People develop ingrown toenails for various reasons. Poor nail-trimming is the most common cause, as this encourages the skin to fold over the nail. Other causes include trauma, such as stubbing a toe, or skin conditions, such as fungal infections or nails that are simply too large. In some cases, the condition may even be inherited. Poor fitting shoes generally aggravate the condition, making it worse.
Many cases of ingrown toenails may be prevented by:
- Wearing well-fitted shoes and socks
- Protecting feet from trauma when possible
- Trimming toenails straight across and avoiding repeated trimming of the nail borders
- Keeping feet clean and dry to prevent infection
If an infection is not suspected of your ingrown, it can usually be safely treated from home by soaking your foot in warm water. Avoid "bathroom surgery" and repeated cutting of the nail as this will only make the condition worse.
When attempts to reduce your symptoms from home fail, or when pain, inflammation, swelling or discharge accompany your ingrown, the toenail is most likely infected and should be treated by a podiatrist at our office. People with diabetes, nerve damage or poor circulation should always seek care immediately if an ingrown nail is detected, regardless of the severity.
A podiatrist can examine the affected toe and determine the best treatment for your condition. For an infection, an antibiotic may be prescribed. Other treatments may involve trimming or removing the infected nail with a minor in-office surgical procedure.
Ingrown toenails may be annoying, but rest assured that they can easily be prevented and treated with the help of your podiatrist. If you think you have an ingrown toenail, visit our practice for quick and easy treatment.


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Hanna track 2014The centers are connected into a continuous track by using a series of spline curves with varying degrees of curvature. The latitude and longitude positions were output every two minutes to make the track file. Please note that this track is NOT the same as the NHC Best Track. That can be found here. This track is to be used with wind and sonde data for flights into this storm, but caution should be used when using this track with other data, such as radar. The wind field track is not the most conservative measure of storm position, and may include many small wobbles due to trochoidal motion of the wind center.
Reference Hanna's wind center fixesHanna's track
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