Maximus Rex · Demmented, deranged, and diabolical · ✭✭✭✭✭

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Maximus Rex
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  • Re: Two police officers killed in Brooklyn in ‘execution-style’ slaying

    Black Law Enforcement Organziations Denounce NYPD…:

    These brothers need to be in the power structure in the police unions, then maybe we'll see some change.
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  • Re: Two police officers killed in Brooklyn in ‘execution-style’ slaying

    Copper wrote: »
    NYPD union sounds like the mob the way they talk

    More like political extremists, i.e. Al Quada, ISIS, Hamas, Hezbollah, the Taliban etc. Just like Islam has been hijacked by the religious extremists within the religion. The radical white supremacist elements within the NYPD has either been hijacked (or they've never relinquished control of) the department.

    Again using the analogy with Islam and the problem with the religion is that you have a billion Muslims across the world who allow the extremists to control the narrative and it's through this narrative that the religion is perceived. The same holds true with the police departments, in this case where talking about NYPD, with has 30,000 officers and they're allowing radicals like Patrick Lynch to control the narrative and using inflammatory and racially based rhetoric such as the Mayor has blood on his hands and the "We now a war department." Somewhere within those 30,000 cops someone has got to saying "this muthafucka Lynch (and is quasi Gestapo supporters,) are doing too much and it's making the department on a whole look bad.

    However, (like the Muslims,) nobody in NYPD (with the exception of black officers,) is saying "Hold up. We have an entire segment of the population that doesn't like us. Maybe we need to take a look at what we're doing and see if we need to change." Nobody in the NYPD is doing tha,t so it stands to reason that from Joe Doe Public's point of view that majority of police officers are tolerant and/or supportive of the racism, brutality, and corruption that exists within the department.

    The thing is not for Sharpton, the Mayor, and protesters to go on the defensive, but to call out the department for allowing radicals to be the voice of the department. How do you answer for an the majority of the people in a demographic not liking the department, and most importantly force the department to admit that it's due to the systemic racism that exists within caused this situation to fester to point where John Doe Public has acrimony towards the police department.

    If the law enforcement, isn't ready and willing to admit to it's culpability in the fostering of ill will towards them, then law enforcement agencies across the nation will continue to be the recipients of violent acts towards them and they deserve whatever happens to them.

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  • Re: Two police officers killed in Brooklyn in ‘execution-style’ slaying

    Police really said it's a war department now man wtf

    And that's the fucked up part and media is giving Lynch's Eichmann' wannabe ass a pass on it. White supremacists are over here talking about that the Pres. the AG, and Rev. Al said, but nobody is paying much attention to the fact that President of the largest police union in America said that department is at war with the very people, (code for niggas,) that they're charged with protecting, and these muthafuckas have the unmitigated gall to wonder why the citizenry doesn't like their punk ass.
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  • Black Excellence: The First African-American Piano Manufacturer

    shaddwithpiano_custom-1b161c9f47db6af8e7caa4a6c4763937f11a873a-s400-c85.jpg

    http://www.npr.org/blogs/ablogsupreme/2014/05/07/309881323/the-first-african-american-piano-manufacturer

    Willard Jenkins May 07, 2014

    At the Mid-Atlantic Jazz Festival in February, one couldn't help but notice the striking new grand piano on the main stage, emblazoned with the name SHADD. When the many accomplished pianists that wee­­kend sat down to strike those keys, it was equally easy to spot their delight in the instrument.

    That piano was the product of a trailblazer in his field. The Shadd in question is jazz drummer Warren Shadd, the first African-American piano manufacturer. That makes him the first large-scale commercial African-American instrument manufacturer, period.

    For Shadd, piano making is part of his birthright. His grandparents were musicians: His grandmother was a ragtime pianist in the South in the '30s, and his grandfather invented (and performed on) a collapsible drum set. (He never patented it, a lesson his grandson learned.) Shadd's father was himself a piano technician, restorer, builder and performer — as well as a trombonist. And Shadd's aunt was the NEA Jazz Master pianist and vocalist Shirley Horn. A child prodigy, young Warren made his own concert debut at age 4.

    Shadd Pianos are now in churches and concert venues across the U.S. — including the set of American Idol, where house keyboardist Wayne Linsey will play it on Wednesday night's episode. On a recent visit to Warren Shadd's home in a suburb of Washington, D.C. — a home that doubles as the Shadd Piano showroom — he spoke about his life and work.

    Willard Jenkins: What sparked your original interest in pianos?

    Warren Shadd: My father was the exclusive piano technician for the Howard Theatre, so I would go down there with him four times a week and see James Brown, Count Basie, [Duke] Ellington, Pearl Bailey, Peggy Lee, Art Blakey and the Jazz Messengers ... rehearsing. I'd see this all day long, every day. From the time I woke up, there were band rehearsals. Shirley Horn rehearsing in my basement with Billy Hart and Marshall Hawkins ... We had pianos everywhere in my house, from the garage to the basement, sometimes even one of the upright pianos sitting in the kitchen, [Laughs.] And musicians would come over to our house after the gig and play all night: Dude Brown, Bernard Sweetney, Steve Novosel, Roberta Flack ...

    My father would have me do little repairs on the piano. When he went on these piano [repair] jobs, he would take me with him to see what the whole thing was about ... and I would never want to go. I just wanted to stay home and play the drums; just wanted to be Warren Shadd the drummer. Except when he said he was going to the Howard Theatre — I was in the car before he got there! I wanted to see all these cats rehearse, see the show ... I met Grady Tate when I was about 6 years old, playing with Jimmy Smith, then went full circle and played with Jimmy Smith myself.

    13yearoldshadd_custom-a2b9471810cdc16fd6ab603fbc75c2d38bf53841-s400-c85.jpg

    As I progressed and learned more about piano technology, I never aspired to; I just knew how to do it. I would say, 'Piano is what I know, drums is who I am.' As I went out there and toured with different acts, did a bunch of Broadway shows and got a little tired of the road, I learned how to tune, rebuild and restore pianos. I would take these pianos down to the nuts and bolts and build them back up just for fun, just for a hobby. I would take whole grand or upright pianos apart, build them back up with everything refinished — new strings, new soundboard, new keys, new ivories — for fun. And then my father would sell the piano. [Laughs.] I was about 12, 13 when I started doing this.

    The record player was always going, from Sonny Stitt's Low Flame album, to Count Basie, to Buddy Rich, to Miles, to Wilson Pickett, Otis Redding, the James Gang, Iron Butterfly — I had a real potpourri and understanding of all genres of music. While I was doing this piano thing just for the heck of it, I was also performing with a bunch of folks. After I got through high school, I went to Howard University and was in the big band with Wallace Roney, Geri Allen, Gary Thomas, Noble Jolley Sr., Carroll Dashiell and Paul Carr.

    When my father passed in 1993, I took over the piano business full tilt, because he had all of these clients for tuning, rebuilding and restoring. He pretty much had Washington, D.C., totally sewn up with all the church pianos. So when I took it over, I already had a client base — it wasn't like I had to start over fresh. We had all these contracts with churches. Coming in as the second generation of this business was phenomenal for me. Secure from being a musician on tour, it was a built-in job.

    As the industry changed a bit, I found that rebuilding pianos was not so much what I really wanted to do financially. I would take these pianos and beautifully restore them ... and somebody would say 'OK, I'll give you $600 for it...' [Laughs.] I'm like, 'Dude, even the new strings I put on this cost four times that much!' So I kind of migrated out of that restoration business into doing tunings and repair work.

    I would also exchange parts. I'd take a soundboard out of a Steinway and put it in a Baldwin to see what kind of reaction it would give, understanding the engineering, understanding which side vibrates the most. I'd exchange strings, put on heavier strings, lighter strings, to achieve a certain type of sound. Being a musician, I have an advantage of understanding what musicians want and what they want to hear. If I can compare here — Mr. Steinway doesn't play piano, Yamaha no, Kawai no, Bosendorfer no, Fazioli a little bit ... They are engineers and businessmen; I'm a musician and an engineer and businessman. I have somewhat of a musical advantage. What I'm crafting is a musical instrument and all those different components that go into that, especially the musical parts.

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  • Re: Hollywood Salaries Revealed, From Movie Stars to Agents (and Even Their Assistants)

    Bcotton5 wrote: »
    American CEO's make way too much money for what they do

    1) How can you claim that "x" person makes "too much."

    2) Can you do what a CEO does?

    3) The average American can barely manage his own finances, let alone having the know-how, creativity, decision making ability, and ingenuity to keep a corporation (especially a mid-size or large one,) profitable quarter after quarter. Just as with professional athletes, there are very few people who can do what C level officers can do, let alone do it well. Stop hatin' on the rich, bruh.


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