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Mid Level Gaming Pc Build - 2 Alternatives - Need advise for choosing
2020.08.28 01:44 xebec767Mid Level Gaming Pc Build - 2 Alternatives - Need advise for choosing
I created 2 systems online and can't decide which one to pick. Some choices are because of the bundle advantages. Can't change much about them. Here is the first choice ; 1 x SEAGATE 1TB Barracuda 64MB 7200rpm 3.5" SATA 3.0 Harddisk 1 x COOLER MASTER MasterLiquid Lite 120 120mm İşlemci Sıvı Soğutucu 2 x GSKILL 8GB Ripjaws V Siyah 3200MHz CL16 DDR4 Single Kit Ram 1 x SHARKOON SHP650 V2 650W 80+ 120mm Fanlı PSU 1 x XPG 512GB SX8200 PRO PCIe Gen3x4 M.2 SSD (3500MB Okuma / 2300MB Yazma) 1 x MSI MAG FORGE 100R Tempered Glass ARGB USB 3.2 Mid Tower Kasa 1 x MSI GeForce RTX 2070 SUPER VENTUS GP OC 8GB GDDR6 256 Bit Ekran Kartı 1 x MSI B460M PRO-VDH WIFI 2933MHz DDR4 Soket 1200 M.2 HDMI VGA DVI mATX Anakart 1 x INTEL Core i5 10600K 4.10GHz 12MB Önbellek 6 Çekirdek 1200 14nm İşlemci I look more positively towards the first choice because I got a nice discount on i5-10600k and CM Cooler. Second choice : MSI GeForce RTX 2070 SUPER GAMING TRIO 8GB GDDR6 256 Bit AMD RYZEN 5 3600X THERMALTAKE VERSA J23 650W 80+ CORSAIR VENGEANCE LPX (2X8 GB 3600MHZ) GIGABYTE B450 AORUS M MOTHERBOARD XPG 512GB SX8200 PRO PCIe Gen3x4 M.2 SSD (3500MB Okuma / 2300MB Yazma) WD 1TB BLUE 64MB CACHE 7200 RPM HARDDRIVE I know the first system with i5-10600k looks ahead. But first system has MSI SUPER VENTUS model and lower (3200 MHZ) memory. And the motherboard in first system is MSI B460M PRO. How much sense does it make with 10600K. Is it possible to overclock?
2020.04.12 17:28 WambachakaHere is my critique of the design of the bows in Bannerlord (long, TL;DR at bottom)
I am an experienced traditional archer, fletcher, and bowyer (although I am not an expert), and I have some input I would like to share on the design of the bows of Bannerlord. I loved warband and so far I'm loving bannerlord, and I'm very grateful for the work the developers have done. Because I love the game and I love historical archery, I want to see archery depicted accurately in the game, so below I have linked a photo of each of the bows currently available in single player, along with my feedback on the designs. I know these aren’t the most pressing issues in the game, but I do hope they’re addressed before the full release of the game. TL;DR at the bottom. Recurve bows: Noble Bow: This is the worst example which is why I'm putting it first. It is reminiscent of a Manchu bow, but as you can see in this photo of a Manchu bow the nocks (the parts of the bow to which the string is attached) are supposed to be located on the tips of the bow. The long, forward angled tips of the bow are called siyahs. The purpose of the siyahs, like all recurved tips, is to increase the efficiency of the bow. If the string is nocked at the base of the siyahs, (as shown in the screenshot of the “Noble Bow”), the entire purpose of the siyahs is defeated and they are only dead weight. I think I know why the developers designed the Noble Bow like this. As you can see in this photo, when a Manchu bow is at rest (braced but not drawn), the string does not form a straight line between the nocks. But as the bow is drawn, the string will start to form two straight lines like any other bow, as shown in the previous photo. This would be a fairly complicated thing to animate, but it is avoided by designing a bow which does not have tips recurved strongly enough for the string to contact the bow except at the nocks, such as this bow. Notice how the string basically forms a straight line from nock to nock. So to conclude, my recommendation to the developers is to redesign the “Noble Bow” with the nocks in the proper location, on the tips of the bow. To accomplish this the bow may have to be altered such that the string is able to form a straight line from nock to nock. Steppe Bow: This bow has the same problem as the last bow, but it is less noticeable because the recurves are much shorter. My main problem with this bow is the tiller (tiller is the way in which a bow bends, i.e. which parts of the bow bend and which don’t). The tiller of this bow is somewhat reminiscent of an Egyptian composite bow which, due to the way it is shaped, appears to bend mostly in the handle when braced. However when it is drawn, it becomes more clear that the bow bends throughout its entire length, as you can see in this photo. The ingame “Steppe Bow” however bends almost exclusively in the handle, which is not a good design. This design would place too much stress on the handle of the bow and would cause it to break unless the bow had a very light draw weight. My recommendation to the developers is to redesign the bow such that it bends throughout its length, except for the recurved tips. Steppe Recurve Bow / Simple Short Bow: These bows are pretty good, you might notice that the nocks are located in the correct place which is great. My only complaint is that when drawn, the string loops form a round shape (see here), but in reality they would only form straight lines because they are being pulled taut. My recommendation is to redesign the bow so that the string loops can either fit over the tips of the bow while maintaining a straight-lined shape, or to make the string loops smaller so that there is no gap between the bow and the inside of the loops. This is a relatively minor complaint and I realize it is a by-product of the difficulty of animating a recurved bow. Heavy Recurve Bow / Steppe War Bow: These bows are decent overall but they are too thin and too narrow. They should just be thicker in general, especially considering these are some of the more powerful recurved bows ingame. Short bows: Firstly I’ll just say that these “short bows” are technically longbows, because the definition of a longbow is actually dependent on the shape of the bow, not its length. “Short bow” isn’t really a technical classification of a bow, it’s just a description of length. But I realize that “Short longbow” sounds a bit stupid and oxymoronic. Hunting Bow / Mountain Hunting Bow: These bows aren’t bad, the only issue is they’re too short. I assume these are supposed to be made of wood, as opposed to the recurve bows which I have assumed to be composite. Composite bows can get away with being extremely short, especially when they’re recurved, but these bows are neither composite (I assume) or recurved. The general rule of thumb for wooden bows is that they need to be at least twice as long as their draw length (draw length is the distance between the handle of the bow and the bowstring at full draw). For example, a bow with a 30 inch draw length should be at least 60 inches long. Wooden bows can be made slightly shorter than twice their draw length, but they quickly lose efficiency and become over-stressed. The “Hunting Bow” depicted ingame appears to be about as long as its draw length, meaning realistically it should be twice as long. Wooden bows as short as this one did exist historically, but they were used with a very short draw length. My recommendation is to redesign these bows so that they are somewhere around 1.5 or 2 times as long as they are now. Nordic Shortbow: This bow has the same length problems as the Hunting Bow, but it also has a stiff, unbending handle which is unsuitable for such an extremely short bow, and it also has a bad tiller. An extremely short wooden bow such as this needs to have a bending handle section, because it needs to spread the stress of the bow over as much material as possible. The tiller of the bow is practically nonexistent, it bends exclusively at the joint between the stiff handle and the bending limb. Focusing all the stress of the bow on such a small area would likely cause breakage unless the bow was very low in draw weight. My recommendation is to redesign the bow so that it is around 1.5 or 2 times as long as it is now, and to remove the stiff handle section so that the bow bends throughout its length. Longbows: Longbow: This bow is decent overall, my only complaint is that it is too thin and too narrow. The tips of the bow are so thin that they are actually thinner than the arrow. I assume this bow is supposed to have a relatively light draw weight, suitable for hunting, and this is reflected in the damage of the bow compared to the other longbows. But even for a lightweight hunting bow it is almost comically thin. My recommendation is to make this bow thicker and wider, especially towards the tips. Maybe about 1.5 times as thick and wide as it is now. Ranger Bow: This bow has the same thickness problem as the Longbow, but the horn nocks are also backwards. Horn nocks on a longbow should either be straight, or they should curve away from the string. The horn nocks on the Ranger bow instead curve towards the string. Nomad Bow / Southern Tribesman’s Bow Western Longbow / Woodland Yew Bow / Woodland Longbow Noble Longbow / Southern Strong Longbow The above 3 bows are all very good, no change is needed! TL;DR: The recurves are mostly strung incorrectly (especially the “Noble Bow”), the shortbows are too short, the “Longbow”, “Ranger Bow”, and “Steppe warbow” are too thin, and some bows have a bad tiller (they don’t bend correctly).
2019.12.12 20:55 TinyLittleFlameThe Other Side of the Portal: Paaree
Through the Portal
In Northern Manshera, along the river Katia, there is a pool in front of an outcropping of rock. The black rock is polished so smooth from centuries of erosion that you can even see faint reflections on it, or perhaps it is reflection from the water projecting on it. The pool is fed by the nearby river when it floods in the rainy season. At its edges, it is ankle deep but on the far end, near the rock it is several metres deep. This pool however, hides a secret. An observant visitor may notice that ripples in the pool sometimes don’t reflect off the rock face or sometimes there are ripples originating from the rock even when there is no apparent disturbance. Unbeknownst to all but a few Free Companies, underneath the surface of the pool is a portal. One can certainly swim through it, but those who are in the know, prefer to use Shamans. A Shaman can channel life force into the water and divide it, cleaving a path for an entire caravan to pass single file through the portal. On the otherside, the portal opens up into an identical pool, but this one in the forest of Paaree. The Free Companies that visit this land have good trade relations with the locals and often spend winters or the dry season living with them, camping right outside their settlements. Author note: Paree has been marked as Mansheran territory in the World Map but like the rest of Manshera, it is not under any unified rule. Technically, my whole claim is a soft claim. Also, this post does not require anything of the map mods. We love you for your hard work and do not wish to annoy you needlessly
Paaree is a forest full of widely placed thick-trunked trees. The canopy is dense and modest amount of shrubs make a living on the forest floor. Various kinds of fungi quietly thrive amongst the tree roots, leeching off of them. Meanwhile, creepers, ferns and moss climb up tree trunks in search of light The spacious forest floor also encourages several species of lithe herbivores and stalking predators that chase them. The dense canopy, meanwhile, houses many tree dwelling critters who feed on berries, fruits and sometimes each other. The forest does occasionally part in large meadows and glades which are home to the Ma’iz people.
The Ma’iz People
The Ma'iz are small anthropomorphic fawn people and the only truly sentient and intelligent race of Peera. They stand three feet tall and have antlers, small fluffy tails, two toed hooves, humanoid hands and short-snouted deer faces.
Society And Culture
They occupy the glades of the Peeraa forest and live in small tight-knit agricultural communities. The communities are disjoint from each other and not unified under any single rule. Each village is led by the a small council of the five eldest residents. Members of the council decorate their antlers and are seen with the utmost respect. The Molazim have learned that the surest way to befriend a Ma’iz village is to gift their council members jewellery for their antlers. They live in small families comprising of a married couple and their unmarried offspring. When a couple wishes to marry, they must first construct a home together by themselves with no outside help. Once it is complete, their parents will then inspect the house and once they deem it habitable, they will give their blessings and the marriage will be performed in front of the whole village, followed by a communal feast (everyone contributes to the food). They love colors, songs and dances. Their everyday attire is dyed in a variety of vibrant colors. Every full moon, the entire village gathers to sing and dance together late into the night. Although the forest grows many hallucinogens, the Ma’iz have no taste for them. However, they have found the that the Molazim are always happy to buy such things. The Ma’iz do consume alcohol, but only at Full Moon parties and are generally very lightweight drinkers. The Molazim have found their drinks to be fruity and week saying one may need to down an entire flagon before he could even the slightest of buzz.
They live in huts made from branches, fungal bricks and other dried plant matter. Most of their pottery and vessels came from dried and hollowed out gourds. Their traditional attire is made from large dyed leaves but since trade with the Molazim Free Companies has opened, they have moved on to more common fabrics such as cotton and linen. Metal tools have also proved revolutionary to the Ma’iz. They prefer to use chemical glow lamps instead of open flame lamps. Fire is always handled with highly controlled environments following strict security protocols that have been passed down from the generations of old. Water and fire retardants are a necessary item in every home. While the Ma’iz have not developed metallurgy, they are technologically advanced in their own right in other fields of science. The Ma’iz know their forest well and they know how to use what is found here. Chemistry is their forte and they manufacture many chemical products including glues, varnish, glow lamps, fire retardants, all sorts of dyes, medicines, etc. They even make their own tools by chemically processing, hardening, and sharpening certain types of plant resin. (Maybe a post about this later). Nonetheless, they have been very welcoming of commodities brought by the Molazim, especially metal tools. Generally, the Molazim use small amber beads as currency but often resort to barter when dealing with outsiders.
They worship Halayal the Great Stag, guardian of the forest, God of fertilty and abundance. Where he treads, the forest blooms. He has not been seen in living memory but it is said that when the forest is in dire need, he shall march once more and revive the forest. Each Ma'iz settlement has a large Halayal statue at its center. Every morning at sunrise, the entire village congregates at the statue and sings praises to their god before starting their day. Marriages are also performed in front of the statue where prayers of fertilIty and prosperity are also sung for the newly weds.
The druids of Ma’iz have two magical gifts: the Amber Tongue and potion making. While potion making may seem like regular chemistry, druids can imbue certain concoctions with magic yielding unnatural effects that cannot be achieved by mixing substances alone. The effects may range from farsight, increased strength and agility, to rapid healing, flight and even an unnatural invincibility to fire. These effects are usually temporary, not lasting more than an hour (subsequent consumption of potions is ill advised for health reasons) The Amber Tongue on the other hand is an ability to talk to all creatures. This includes understanding and speaking in all sentient languages, as well as communicating to animals. Though with animals, it is more of implanting an idea about what the druid wants and what the druid may offer in return. Animals respond according to their respective mental capabilities.
Other Notable Creatures
While there are many different kinds of trees in Paaree, no discussion of its creatures can be started without the Sentinel trees. These are mighty tall trees spread all over the forest of Paaree. They are believed to be some of the most ancient trees and are most integral to the forest, primarily because of their complex nervous systems which span the entirety of the tree and are linked to several sense receptors and specialised glands. Their roots run deep and wide and are somewhat parasitic in nature. When they encounter the roots of other trees, the Sentinel roots intertwine with them and begin extending into them, spreading their nervous system to the new host. However, these do not extend upwards into the tree, nor can they induce the host to develop sensory receptors. Instead, this spread is used to seek out other sentinel trees. Once a sentinel tree finds others like it, the group may function as one connected organism. The Sentinel tree earns its moniker thanks to this interconnectedness. A single network may span several miles in radius. When any of these trees senses danger, be it from fire or axe, it sends distress signals along the roots to other trees. The recipient trees use their glands to secrete specific scents to warn of the danger like an early warning system. However, this isn’t the functionality why this tree is on this list. No, it is here because of the same reason it is also called “The Mother Tree”. A sentinel tree lives for millennia and once a century it goes through a phase similar to giving birth. Roughly a meter around its trunk, the roots grow upwards, shooting out of the soil as small trees. These join with the main trunk a few meters up. These serve as the support structure while a far more complex process is underway. Eventually a humanoid creature breaks out of the main trunk like a chick out of an egg. This creature is called a Barkin.
The Barkin, the Walking Woods
Born from the womb of mature Sentinel Trees, the Barkin are very peculiar creatures. Humanoid in shape, their skin is made of thick bark. From the back of their shoulders and from around their waists, ivy-like creeping plants grow. They appear to be capes and skirts however, they are not clothing per se. Instead they are important part of a Barkin’s body and provide energy via photosynthesis. However, this is not their main source of energy. They also eat many different types of fungi and fruits. At birth, they are 6 feet tall. However, they may grow up to twice that height over the course of their lifetime. They get slower with age though, and spend more time sleeping against a tree than moving around. Eventually, they die in their sleep and never wake up. The Barkin patrol the woods like the forest’s natural defence mechanism. Although they they are generally peaceful creatures, when the sentinel trees sound the alarm, the Barkin rush to the source of the problem and respond with the aggression of a territorial predator. They have a certain affinity to all sentinel trees and are more receptive of the different subtle chemical cues given off by them. In a way, they use this perception to access the rich network of sentinel trees spread through the forest to seek out each other or potential threats to the forest. Whenever the Molazim visit Peeraa, they soon find themselves being stalked by a Barkin or two. Very few have seen this, but when two Barkin are alone in an area where there are no sentinel trees, they engage in what can only be described is heavy hugging. They embrace and rub against each other vigorously. This sheds the outer layer of their bark underneath which are male and female components of their seeds/spores. The genetic material combines with each others corresponding material and eventually a new sentinel tree may sprout on the location. Afterwards, the Barkin go their separate ways. They are loners by nature. The Ma’iz have had some trouble with them when logging. The Barkin don’t take kindly to that if they find out. A work around the Ma’iz have discovered is to first dig around the tree and sever the roots from sentinel network. It also helps to have a druid at hand to calm down any angry Barkin.
Sahalia, the Crafty Lizards
A certain species of colorful gecko lives in Paaree that is known to craft tools and weapons out of twigs, leaf stalks and other things they can gather. They live in large communal nests that may even span the branches of an entire tree. They have been observed to use leaves as camouflage capes, and small bow and arrows to hunt bugs and fae. Ma’iz druids sometimes communicate with them to help gather certain plants and berries, giving them dyed leaves of scraps of fabric or food in return. Occasionally, a Sahalia will take a liking to something shiny and bring random berries and mushrooms to the owner hoping for a trade (they may not truly understand trade but learned the behaviour dealing with druids)
Siyah, the fuzzballs
The Siyah are small, black, almost round furry rodents with beady eyes and a small mouth. The ears and nose are non-descript. They have long thin limbs that end in nimble hands with opposable thumbs. They are crafty little things that weave a variety of things from twigs including nests, turtle-like shells for camouflage and backpack baskets they use to gather berries in. It’s almost impossible to find a Siyah without its signature make-shift shell of twigs. It quietly creeps along branches and at the first sight of danger, it folds its limbs back under the shell and hides. The females usually work as gatherers and knit a basket into their shell. They gather berries into this basket and hurry back home. They mate for life and live in couples with their young. When a child matures, he or she leaves the nest to find their own mate and make their nest. Males make nests to attract potential mates. They also serve as look outs when the females gather food and make chirping noises at the first sign of danger. They are also known to serve as a distraction to a predator who is getting too close to the hidden female.
The Flutter Fae are small humanoid blue skin creatures that stand at three inches tall. They have small compound eyes, a pair of antennae, short pixie like hair, pointy ears, large foldable wings, sharp claws and talons. From the standpoint of human anatomy, all fae appear to be female with small budding breasts (these are just aesthetic). However, they have been observed to engage in rather fervent mating, often with several fae at once. These acts take place in soft moss beds and after sometime new fae take birth in the moss and begin life with munching on the moss. It is unclear who provided the seed and who provided the egg in this union or if the whole matter was asexual. Some theorize that perhaps each fae carries both the seed and the egg but that must combine these with those provided by other fae for the union to work. These mating habits and their peculiar anatomy have often made them the target of some perverse Molazim trappers. They are omnivores. Although they mostly prefer to nibble on berries, moss, and mushrooms, they also prey on bugs, berry fae, Siyah and other smal animals. They often hunt in packs. One of their favourite delicacies comes from the White Dew Mushroom. It is a relatively rare mushroom in Paaree. Thick of stem, short of cap, it secretes a sticky milky white liquid from the tip of its cap which the Flutter Fae love to consume. When they come across one of the mushrooms, they would rub against the stem, tug it and try to squeeze it in order to stimulate the secretion. During this, the mushroom dowses them with spore which they then unknowingly spread around the forest. In their interactions with the flutter fae, Ma’iz druids have found them to be both shy and vain. They prefer to remain hidden, rarely revealing themselves. The only way a druid has managed to get a fae to come out is by lavishing it with praise. However, no amount of praise or gifts can get a fae to do what you want it to. Many mistakenly think that the dainty little flutter fae are different from the blood swarm that occasionally terrorises the Paaree woods. In reality, they are one and the same. For reasons not understood very well, there are occasions when hundreds of fae gather in one location and experience an onset of bloodlust. Their skin turns a deep crimson, their muscles gather mass and even their cheeks slit a bit to allow their jaws to open wider. They swarm through the forest, devouring everything in their path, sometimes even entire colonies of Sahalia until their thrist for blood is sated. After which, they go dormant and gradually their bodies return to normal. The Blood Swarm phase can last upto 12 hours but usually dies down as soon as they have had their fill.
The berry fae are born from a specific tree. The tree grows a corn like sheathed structure. When the time comes, the structure blooms to reveal a cluster of green berries. The stalks of these berries are actually the body of the fae. Upon blooming, the berries begin to detach and descend one by one. Mid-fall, the fae unfurl their wings and take flight. Berry fae are tiny creatures and have humanoid torsos with dragon-fly-esque wings. Their bottom half is the green berry. They live no longer than a week during which they do not eat or drink and sustain themselves only on the nutrients in the berry. They also periodically drop seeds from the berry. In their short lifetimes, each berry fae may drop up to ten seeds. The seeds are rather delicate and do not survive the journey through the digestive tract of most animals. Therefore, the berry fae is the plant’s seed dispersal mechanism which actively avoids being eaten. They are a common prey of the Sahalia lizards and flutter fae
2019.10.24 04:18 chartreuseeyeHip-hop Hooray for Halloween
For my costume this year, I’m dressing up as someone who has any business posting about hip-hop. Trick or treat? I don’t remember the last time I saw a thread about hip-hop on eMusic, so here’s what appears to be left. Given that it’s the most popular style of music in the States, I can imagine obscure stuff without the hype and heavy production could go to one extreme or another in terms of appreciation. When I started the brute force search back in June I didn’t think there was enough hip-hop to make a list like this, let alone sustain someone who only or mainly downloaded it, but now I’m not sure. The quantity is definitely available (I count between 150 and 200 labels with at least some, as well as countless solo/unaffiliated MCs trying to make it on their own), and I hope bigger fans than I will comment on the quality. The pertinent questions may be whether hip-hop fans ever subscribed to eMusic in significant numbers to get it, and whether any of those still subscribed would ever resort to a subreddit to find more. I have doubts. Dedicated Labels I recommend: All City Dublin (beats); Are You Serious; Champagne P Summers; Chillhop Records; Excluded Ltd (grime, house, reggae); Eyrst; Freshmind; Crunchy Kids; Howie McDuffie; HW&W; lofi GVNG (beats); Kingz Umbrella llc; Meanbucket (beats, grime); Merts Nation; 131 Northside; Rad Summer; Rebel Writer; ShadowTrix; S.H.I.E.L.D.; Too Lost LLC; Tres Records; UNO NYC; WeGrowWax; Dedicated Labels I find questionable: Amalgamated Muzik Group; Boot; Cassiopea; CONCORE ENTERTAINMENT; Currency Cartel Ent., LLC; Digital Storm; Dreaded Wolf Entertainment; 808 Entertainment; 80p LLC (Anyone who wants to browse hip-hop albums one or a few at a time can search labels for "LLC" or "Entertainment”); Frenzy Sounds; Get Dough High Sound (beats); Goodfellas (gangster house?); Kn0-Th30RY WRECK0RDS; Likewyse Productions; MoWet Entertainment; Mox Flex Entertainment; Musicheads; Trunk Go Boom, LLC; Innovations Music LLC; 2EIO Sounds, LLC; Unlabeled; Commonwealth Production Unit; Perth; Playaz Cliq; Skylar; Tama Industries; weOutThere Entertainment LLC; Raquemardon; U.N.T. Entertainment (Christian) Indie gangsta rap I do not appreciate: Black Ice 45 Music Group; BUSINESS MINDED ENTERTAINMENT LLC; DiceHoods Entertainment LLC; DJ Central; Drum Majors ATL LLC; Gifted & Talented, LLC; KM Entertainment LLC; Low Bottom Entertainment LLC; Mad Prince; MizerMillion Entertainment; Move Quiet Entertainment; Mysterious Entertainment LLC; Negative Audio; 9th Ward Production and Promotions Company LLC; No Limit Forever East; On Our Own Entertainment LLC distributed by Red 3; Pounds Music LLC; Ragz 2 Richez Recordz; R.E.A.L.; S.D.Y.P. the Movement, LLC; Thug Boyz Entertainment; Trackoholic Music Group, LLC; Tree House Creations LLC; Vision & Vitality Entertainment. Those looking for new, indie trap especially might disagree with me. Perhaps there is some irony in the tendency for these artists to be obsessed with getting rich, given that their albums are still on eMusic whose reputation for compensation has come into serious question. Of the labels offering MCs who rap in English, my top choices are HW&W for having high ratings in a small catalog, Eyrst out of Portland, OR, Rebel Writer for its unique backing tracks (but I wish they weren’t singles), ShadowTrix for being more on the electronic side, and Chillhop. Howie McDuffie is notable for having some big names the average listener will recognize. For space, I’ve left out the many, many hip-hop albums on labels with mixed catalogs, of which Stones Throw is one of the best. Sometimes a rap album getting onto a label putting out a variety of music is a mark of quality, so by all means, lend a hand with those if you feel like the remaining dedicated labels are all low-grade. Search my full label list for hip-hop for those, and please report back the gems you find! http://www.omnifoo.info/pages/eMusic%20Labels.html Does anyone listen to hip-hop in non-English languages, especially those they can’t understand? I’ll say I do, liking MC Solaar and TTC in French without speaking it for just two examples, but I’m not going to pay a lot for it or sort through much to find it. See the album list in a separate post for a boatload of examples. Global hip-hop labels on eMusic for the adventurous…There’s actually also plenty in English if you dig. Big shout-out to linguistic imperialism! (African) MIDIcinal; World_Str8; YMR NIG; (Asia…China/Korea mainly) Gravity Music; Maestro Production; StreetVoice (the name sounds like they should be mostly hip-hop, but you’ve gotta dig through 700+ titles) (France, Germany, Italy, Other Europe) Gimme Mo Records; Le Fornia; Relief Records EU Sas; Thot; Swish MGMT/France; Bassukah (Iran) Aamizeh; TehRap; Pelak (Israel) Dvarim e crew (Latin or en español/Portuguese) Potoco Discos; Banana Network; Bear Busby; BoltMusic; GRIMEY; Media Play; Pirámide Perdida; STP MUZIK NATION; Terror Negro; Urbaton; Wavy; Secret Family; Sello Fisura; Suite Soprano; Vende; B9; blbonthebeat; Boa Musica; DK Music Canada; El Consul; 574; TeleYoli SoundStudio; Flow M. Mucho Rap C.A; Zotano Records LLC; Utopic Royal; Blackstar; Dope Muzik; (Russia) HUMBLE PALACE; А+/Студия СОЮЗ; ActOrchestra; AFERA; AVK Продакшн; MAESTRIC; SAKURA; Siyah; TAPOCHQA; Flaxyz; Stolica; SUTYXIVE; Digital Project; 42; General Hits; Новая Школа; Trend; (Poland/Eastern Europe) Aloha Entertainment; Aptaun; Stojedenascie; Asfalt; Biuro Ochrony Rapu; Hemp Rec.; NNJL Jacob Gendzwill; Prosto; Max Flo; New Media. I’ve claimed that there might be more Polish hip-hop left on the site than in English, but on finding the indie gangsta labels, I’ll retract it. (Sweden, Norway, Finland, Iceland, Denmark) Wu Pægne; Petsamo Industries; PsykeRecords; Slow Motion Soundz Europe; 3rd Rail; Little Høg; (Turkey, Balkans) Illegal Records; Kingdoz Studio; Workroom 11; SonStyLa Official I’d be hard pressed to say which global labels elevate themselves above the others without understanding what the MCs are saying. Judging solely on perceived flow and production quality doesn’t quite seem fair. I hope some multilingual users can share what they find to be worthwhile. I’d start exploring with Potoco Discos, YMR NIG, the Nordic, Western European, Iranian, Israeli, Balkan, and Turkish labels unless you have leads to sort through the massive Polish and Russian selection. Clearly it’s less of a question whether hip-hop is a global phenomenon than whether anyone in the world likes the hip-hop still on eMusic.
Hey all, time for the first update. These posts are going to be long because I realised there is a ridiculous amount of detail and context to every decision and every action. Album link at the bottom. I haven't been able to get much done, what with life being very busy. Nonetheless, I've done a little bit. I've split up the categories for easier viewing. HORN I have thinned out each half of the horn to a more or less equal thickness. The thinking here is to make it easier to flatten into a single piece. I've read a variety of sources regarding the flattening of horn, some suggest dry heat, some steam, some boiling, some frying, and one suggestion to soak the horn in milk for a month. I initially tried using dry heat. Knowing full well that horn needs to be heated only to a certain degree, I carefully heated and clamped it. It immediately cracked for around 3" down the "crown" of the half. The second half I tried using steam. Careful and precise steaming made no difference. An almost identical crack appeared. There's plenty of proof showing how many used several strips of horn on the belly, so I'm going to split the entire length along the cracks and then rasp them flat. I'll lay down two parallel strips per limb. CORE The core seen in the photos is made of laminated bamboo flooring. It's thicker than it looks - about 1/2". It's basically an experimental core. The handle is ash, the siyahs are saligna. In terms of dimensions, the handle section is 15cm and will be glued on the back and shaped. The sals are 25cm each. The kasan is 12.5cm. The siyahs will be v-spliced in, and steamed at an angle obviously. Instead of carving out the ridge on the back along the kasan, I'm going to glue a thin square section to the back and carve that accordingly. THOUGHTS There are an unbelievable amount of factors at play when designing this bow. Only when I actually started did I begin to realise the immense amount of considerations you need to make. At this point the only advice I can give is to start bigger than you need to. You'll be shocked at the amount of horn wasted in the processing phase. This is a build where 1/16" difference in thickness/width can be the difference between a 100# bow and a 40# explosion. Start bigger than you need, and plan everything down to the mm before you cut anything at all. More updates to follow. Here are some pictures: https://imgur.com/gallery/eF57FSW
2019.08.26 11:27 chartreuseeyeOwn Mr. Trololo. Polish, Russian, and East European Studies...
After spending a lot of time and energy on Hispanic Studies and East Asian Studies, I’m just going to phone this one in and let you look up these labels yourselves. It still took quite a long time to compile. I feel much less qualified to judge quality for this region and would never have looked into it but for the gaping hole where American labels used to be. That said, and to repeat the theme of these exercises, there’s a lot of worthwhile stuff out there for those willing to sample. I was going to combine this with the Middle East and Africa, but after digging in with rudimentary Cyrillic searches it was clear this needed its own post. One more “advantage” of Poland, Russia, and E. Europe appears to be a much greater likelihood than elsewhere that the labels have 2019 releases available in relative abundance (though I wouldn’t trust most dates on eMusic very far, especially for these). Welcome to the Slavic cutting edge…on eMusic! Poland (Keeping eMusic jazz alive!): Approved- Kalejdoskop (wildly indescribable); KarrotKommando (pop, rock); Thin Man (P indie rock, synth pop); VRS (alt. & prog rock); AGORA S.A. (pop, rock); Plexus of Infinity (jazz, metal, world, experimental); Astigmatic (jazz, electronic, experimental); MTJ (post-punk...Siekera, Klaus Mittfoch,Brygada Kryzis..., oldies, classical, jazz); serpent (world, classical, jazz, folk, Krautrock); ONIONWAVE (electronic) Hit & Miss (at least a couple titles of interest)- Polskie Radio (jazz); Lou & Rocked Boys (punk); Bartosz Leśniewski (krautrock); Step (hip-hop); Cowshed (electronic); Metal Mind (progressive rock, hard rock, metal); Mega Czad/SMPB (punk, rock, new wave); Hemp Rec. (hip-hop); Remigiusz Trzcionka (pop singles); Questionable- MyMusic Group (pop, easy listening & cheese); Sound Art (blues); Aloha Entertainment (hip-hop); Aptaun (hip-hop); Asfalt (hip-hop); 83Nagrania (hip-hop); Embryo Nagrania (hip-hop); Biuro Ochrony Rapu (hip-hop); NNJL Jakub Gendzwill (hip-hop); New Media (hip-hop, pop); Rejected- Luna (randomness); Rock Revolution (cheesiness); Agencja Artystyczna B.M. (P Eurotrash discopop); Wydawnictwo Muzyczne FOLK (P utter trash synth-pop); Russia (Given its ongoing status as the original Napster on a national level, it may seem especially silly to pay money for Russian music, but hey, there’s a slightly greater chance of an artist getting paid if purchasing through eMu, right? I gather Russia must be a very hard place to avoid, let alone create, something other than pop.): Recommended without reservation (I could imagine hearing/playing lots on U.S. college radio)- MARS Records (instrumental rock, folk rock, jazz, electronic); Свет и Тени (punk, post-punk, goth, Alt. rock, synth-pop, hip-hop…think Sub Pop & Polyvinyl); Bastard Boogie Tunes / Союз Мьюзик (electronic); Ledokol (electronica); Recordzman (some indie rock, pop); FANCYMUSIC (classical, jazz, electronica); Full of Nothing (electronic experimental, industrial); I am sadly unable to judge which Russian hip-hop label is the best, so they’re all in sections below. Found one or two interesting titles for the Wishlist- Embers (electronic); Ionoff (all genres and looks cool with v. large catalog); Lasmus (classical, electronic, experimental); Assist for Artist (solo piano, pop); A+ (hip-hop, pop); Content Chaos (various electronica); Monolit (pop); RussianTechno (pretty obvious); SELF Music Publishing (rock); Startup (pop, electronica); Treesare (rock); Moveton (techno); Новая Школа (hip-hop); СтудияСОЮЗ (Soyusmultifilm…pop); Союз (pop, hip-hop); Первое Музыкальное Издательство (pop, hip-hop, rock); Выргород (rock, experimental); ООО «Национальный Цифровой Агрегатор» (rock); Flaxyz (hip-hop, pop); GMC (pop, metal...Nokturnal Mortum..., electronic); AstroPilot (trance); Body Motion (pop, house); Up to your ears in mediocrity- Triartum (electronic, pop); MALFA (pop singles); Siyah (hip-hop); NTAElectronic; OOO “Мэйнстрим Продакшн” (pop); СоюзМьюзик (pop, punk, rock, hip-hop); Борт номер один (RU) (Alt. rock); Diamond (electronic, pop); TAPOCHQA (hip-hop); Lavina (rock); Глория Медиа (pop singles); Stolica (darker hip-hop); DecentRap (hip-hop); OneMuz (hip-hop, pop vocalists); AVK Продакшн (pop, hip-hop, rock); Стихия Мьюзик & Чудесаунд / Союз Мьюзик (two labels of hard rock); NBS (trance, hip-hop, pop); ООО "Продюсерский центр И.Матвиенко” (folk, rock, pop, church?); SHUFFLE RECORDZ (rock, ska, electronic, hip-hop); MAESTRIC music (pop, hip-hop, rock, acoustic pop); А+/Студия СОЮЗ (pop, hip-hop); Magic Cat (hard rock, metal); Blat (blues, punk, pop, hip-hop); AFERA (hip-hop, beats); Trend (pop); Издательство «Хорошая музыка» (folk pop, hip-hop); UMI & Microphone Global & Лаборатория звука (3 labels of pop); ActOrchestra (hip-hop, beats); Zeon (synth-pop); IVXX/A+ (pop, hip-hop); Idenline (pop); 42 (hip-hop, pop); ООО "Р-Концерт” (pop); KM Music Label (pop); SUTYXIVE (hip-hop); TuneCloud (trance singles); AVEC (pop, electronica); Brand Music Records (pop, solo piano); Digital Project (pop, hip-hop); EPIGRAFF (dubstep); General Hits (hip-hop); GFM (hip-hop); Megapolis (rock, holiday, soccer hooligan chants); Nyet. Just nyet.- Maxim (a lot of garbage and pop); RMG (R Eurotrash electronic pop); Recordsman (R pop vocalists, electronica); Dvamira (synth-pop); ООО "ВВВ.РЕКОРД” (old pop vocalists); ООО «Верго Мьюзик» (spoken word, pop); MeladzeMusic/Первое музыкальное Издательство (pop, pop vocalists); ООО "Медиалайн” (old pop); ООО "Издательство Монолит” (pop vocalist, pop, spoken word); THT-Телесеть / Первое музыкальное Издательство (singing pageant contestants); Greenstar (R Eurotrash synth-pop); Eastern Europe neither Poland nor Russia or mixed sources (Identifying exactly where some of these are from proved too difficult.): Approved- VIDLIK (Ukraine, pop); ECDC (Hungarian rock, pop, folk); Gusstaff (rock, electronica); Jimmy Jazz (rock, punk, folk); Michal Przerwa-Tetmajer (jazz); Prosto (hip-hop); Sarajevo Disk (rock, pop); FM Play (Serbian pop singles); Slovak Music Industry (electronic, hip-hop, piano solo, folk rock); Workroom 11 (Balkan hip-hop, pop); BalkanBeats (electronic, world); Early License Group LLC (Greek, Balkan folk?); Euro Music Digital (Balkan folk); Questionable- Szpadyzor (hip-hop); Take It Or Leave It (rock, world, pop); Hood’G’FamEntertainment (hip-hop); Musideco (EE classical); Only Entertainment (Serbo-Croatian hip-hop, pop vocalists); Only Records (Croatian pop, hip-hop); CePE Music (Slovakian folk, jazz, blues); HI-FI MUSIC (Serbian pop vocalists, pop, folk); NIMFA SOUND (Bosnian pop vocalists); Cilem Records International (cheesy old Balkan and Turkish pop); WOOW Balkan (pop singles); More detailed but still brief label descriptions and evaluations are here: http://www.omnifoo.info/pages/eMusic%20Labels.html As for specific recommendations, I’ll admit that I wouldn’t consider downloading anything from most of these labels unless it’s 99 cents, which incidentally is not in short supply. I’d hope the top picks have something even for someone with no regional interest at all (i.e. someone who just likes rock, jazz, or electronic music and doesn’t care where it’s from). Individual favorites from the region (including Balkan stuff): Sarakina; Paul Lyytinen Magnetia Orkesteri; Arek Czernysz Trio; Nazar Kozhukhar & The Pocket Symphony; Balkan Paradise Orchestra; Onuka; Budka Suflera; Found Mr. Trololo’s single, too: https://www.emusic.com/album/212890822/-/------- If you’ve been living under a rock, the internet sensation lives here: https://www.youtube.com/watch?v=oavMtUWDBTM and is differently hilarious here: https://www.youtube.com/watch?v=MQ78IlJs5JQ I presume Эдуард Хиль is his name, and I’ve seen interviews on Youtube, if you want the full story. Many of the Polish labels, especially Kalejdoskop and Karrot Kommando, are at least worth sampling, as is the electronica on Ledokol. Hard rock fans should sample around in SELF Music Publishing and Thin Man for lighter, synthier stuff. Свет и Тени https://www.emusic.com/label/839089/--?sortField=POPULARITY&descending&pageNumber=1 has something for everyone, and from 2019, if you’re willing to sample. If you’ve got a particular interest in the region, language ability (I’ve a sneaking suspicion some of what I labeled Polish might be Czech or something else), hip-hop and electronica are pretty well served. Strike that. I’d wager that there’s now more Polish or Russian rap on eMusic than there is in English. Separately. Combined, it’s not even close. Much more likely I’ve missed significant labels here, as I lack the lingo skills. Go listen and comment, please!
2018.10.17 14:32 MattYoungZAAm I missing something obvious about bamboo?
I'm building a short two-lam bamboo bow with siyahs. Yes I know it's a cliché style, but it's for a student who wants to try horseback archery. The question I have is simple, and I'm probably missing an obvious answer. Why has nobody ever build siyahs from bamboo? Surely if you split a single piece into two, flatten down each one and glue them together you can build a siyah? The only possible reason I can think of is that two pieces of bamboo might be too narrow/thin to be effectively spliced into the limb. But that problem can be easily overcome by using bigger or more bamboo. Just a thought...
2018.04.13 19:40 TechnicolorTravelerWeapons and Armor of the Kiana
Weapons and Armor: Bows: All bows used in the Seshari military are specially crafted from the incredibly strong wood of the enormous Juntang trees of the Sassarana Jungle, with few exceptions. Seshari bows are flexible, durable, and incredibly strong. The Kiana people are also very physically strong, and so their bows are very strong as well and nearly impossible for smaller races to use. The Kiana are masterful bow makers and the bow itself has been an integral weapon for them for millennia, since they prefer long ranged and quick, stealthy, attacks over direct hand-to-hand combat. Here are some bows native to the region: Punang: the traditional long bow of the Seshari, as well as the Taoloa people. It, like most bows of the empire, is very strong, made from Juntang trees, and takes years of practice to master. Sochen’ou/Siyah/Hanumon: Sochen’ou are powerful compound bows, designed by the Sikar people of the Seshari empire and adopted by the empire as a whole. It is also a very powerful and effective bow that shoots at a greater distance and causes less fatigue than traditional bows. It is made from, wood and sinew laminated together, but some variations have been made over time. Some early bows were made like recurve bows but with flexible tips and the wooden core was continuous from the center to the tip. Later bows had stiff tips; the stiffening was accomplished by attaching laths of bone or antler to the sides of the bow at its ends, and were called Siyahs. More recent bows are called Hanumons after their creators, the Hanumoni ethnic subgroup of Hananup Kianas living in the north-central Kuth region. The grip of the bow is stiffened by three laths, on the sides are glued a pair of trapezoidal laths with their longest edges towards the back and on the belly was glued a third lath, varying in shape but often narrow with parallel sides and splayed ends. Therefore, each bow possessed seven grip and ear laths, compared with none on the early Sikaran bows. All three bow types can be found across the different Kiana ethnic groups: The Seshari prefer Sochen’ous and Siyahs while those in Kuth prefer more compound bow-shaped Hanumons. Arrows: called Arpas in the kiana lanaguge, Seshari arrow technology is noteworthy as well. Besides traditional stone arrowhead arrows still used by the Taoloa and Hananup, the Seshari have developed and now widely use iron arrowhead arrows and their arrows are heavier than normal ones to cause more damage. The kiana have also invented serrated and barbed arrows that stick in just as well, but cause more damage coming out. These are less common however and are not in wide use by the military yet. Another common kind of arrow is the poisoned arrow; dipped in a lethal toxic syrup excreted by several varieties of a particular poisonous plant, these arrows can kill in minutes if they pierce the skin deep enough. Even if not particularly deep, they can cause toxic shock and in some forms of the poison, anaphylactic shock. Bladed weapons: Shopa- the traditional Seshari spear, which is more or less like any common spear. It has a strong wooden pole made from Juntang wood and an iron blade on the end of the shaft. The tip is typically designed to me as minimally top heavy as possible but also very strong. The common kiana fighting style when engaging multiple opponents is to coil back, raise their shield and spear, and then lunge forward at least about 4 meters or so to strike as hard and fast as possible before pulling back, like a striking snake. Shuropoa- the common javelin, its name means air spear and is another common weapon in the arsenal of the Seshari military. Sukkah- typically a weapon similar to a falcata, the sukkah is the standard short sword of the Seshari empire. It has a single-edged blade that pitches forward towards the point and is concave near the hilt but convex near the point. This shape distributes the weight so that the sukkah is capable of delivering a blow with the momentum of an axe, while maintaining the longer cutting edge of a sword and some ability to execute a thrust. The grip of a sukkah is typically hook-shaped and adorned with blessings or charms to aid the user in battle. Dokka/Dokki- the name varies depending on the dialect, but wherever you go this is the weapon of choice for kiana that plan to constrict. While a kiana can easily crush bone and armor with their constructive ability, if an opponent is left with a free hand and they are still armed, the opponent could potentially hack open a kiana’s tail and deal lethal damage, or at least horribly maim the kiana. The dokki helps deal some damage before that by effectively being a tail-mounted blade. The dokki is a thick leather cuff strapped to several points on the lower end of the tail with very thick angled blades mounted horizontally on the sides. These are thin strips of curved metal on either side that can be used to cut and slice into enemies while one constricts their foe. It's good for going under scales and slicing the flesh and is also worn as fashionable decoration among taoloa and gahara warriors. Since constriction is not an often used tactic in warfare, the dokki is mostly used by sport hunters and pit fighters (only when allowed to have them) but scouts are sometimes equipped with them as well and it's an intimidating weapon often worn by generals at special events. Khopesh- a sickle-sword like weapon that evolved from battle axes and is primarily traditionally used by the Gahar people of the Seshari empire. It is a versatile weapon that not only is very sharp along the outside of the curved edge, but also has a blunted edge on the weapon's tip that also serves as an effective bludgeon, as well as a hook. They average about 20-25 inches long, though they can be shorter. Urumeh- also just known as an urumi, this is a more decorational weapon than a functional one, though is still used by some warriors of the Gahar, Sesheer, and Sikar people. The Urumeh is a weapon made with several long whip-like sword blades attached to an iron or brass hilt with a disk-shaped handle. The blades are generally four to five feet long and the weapon itself usually has multiple blades and is dual wielded. It takes years of training to master and is generally considered to be one of the most intimidating weapons to date, as well as the most difficult to master due to the risk of injuring oneself. The urumi is handled like a flail arm but requires less strength since the blade combined with centrifugal force is sufficient to inflict injury. As with other "soft" weapons, urumeh-wielders learn to follow and control the momentum of the blade with each swing, thus techniques include spins and agile maneuvers. These long-reaching spins make the weapon particularly well-suited to fighting against multiple opponents. When not in use, the urumi is worn coiled around the waist like a belt, with the handle at the wearer's side like a conventional sword Shields: Almost every Seshari or Kuthite warrior will have some kind of a shield. One of the first lessons in the Seshari military is: “If you have to pick between a sword and a shield, pick the shield.” Because with a shield, a kiana will almost always have something to defend themselves with especially while closing the distance between them and their opponent so that they can move around and constrict their foe. There are a couple basic models of shield. Zaro- a tall rectangular curved shield, usually about five feet long. It is made of reeds or wood, with the more expensive ones being made of metal. They are painted brown or green or left unpainted altogether. Carried by front rank infantry to form a shield wall and is the most commonly used shield in the military. Kuthite shields generally have pictures and symbols of legendary heroes, myths, or monsters painted on their shields, Zaro Hassan- literally means “half shield”. It is a bit more than half the size of a Zaro shield, and usually about 2 to 3 feet long and is oval shaped with two circular holes on either side of the shield; this allows it to be used with a two handed grip on a spear. It is typically metal or leather covered wood and can be ornamental or functional. It was typically carried by troops a few ranks behind the front infantry and by spear bearers, javelineers, and one-handed sword wielders. Armor: In general, the Kiana do not wear much clothing, however they do wear some armor when going to war. Kiana scales are naturally very strong and hard and so males, who make up the bulk of the military do not wear much armor except for a helmet and a simple chest protection, usually chain mail. Females only have hard scales below the waist, so they wear much more armor. In the empire, soldiers generally wear several layers of clothing to protect their chest: the duwar a thick short sleeved cloth shirt, the taskash, and then the shothal on top [see below]. On their arms they typically wear a leather vambrace, called a zarthol with layers of metal strips on the outer forearm guard for higher ranked soldiers. Besides this soldiers wear either a oshuth or osson helmet. Taskash: a strong, lightweight, malleable linen armor. When hit, it spreads and reduces the force of projectiles and mostly just reduces a mortal wound to a flesh wound. It is fairly effective and very easy to produce, so is common among low level soldiers. It is made from twelve layers of folded linen glued together into armor pieces and is usually dyed brown if not covered by leather armor. It is very cheap so very common despite better armor existing as well. Shothal: The name means “leather” and in the past was simple leather armor, however, in current times, this outermost layer of armor would be quilted armor, lamellar, chain mail, or metal scale armor that is colored brown or dark green. Oshuth: By far the most common form of headgear for a Seshari military soldier. It is, in essence, just a metal skull cap made of iron or bronze with some padding that comes in several different shapes for the different skull shapes of the males of the empire. No helmet is cheap, but every Seshari soldier doesn't go to battle without one, some only go into battle with a helmet and their weapon. Osson: Usually made of iron or bronze with padded leather or thick cloth or wool on the inside. It is typically worn by the higher ranking captains and generals and such, with more adornment the higher the rank of the wearer. A simple one would look something like this and would be painted brown or green if for combat in the dense jungle.
2017.10.08 09:10 ByzantineBasileusA Review of The Latest Lars Anderson Archery Video
Greetings History! Lars Andersen, the noted archery fraud, has released another video: https://www.youtube.com/watch?v=R8dBQVDROdA As it contains numerous inaccuracies, I thought I should address them. I should state that, first and foremost, I am not an archer and nor do I have any experience with archery, either as a sport or in terms of reenactment. For this reason I shall examine his claims from an academic and historical perspective by utilizing various primary and secondary sources that clearly contradict his assertions. My imaginary drink shall be a bottle of Woodford Reserve Kentucky Bourbon Whiskey, so let us begin! 0.05: The narrator says that Lars Andersen is trying to reinvent historical archery. There are two problems with this. The first is that archery was employed across the world, which each individual culture maintaining their own unique methods and approaches . Thus there was no single style to reinvent. Secondly, many traditional forms such as Mongolian and Japanese archery still exist, so there are still plenty of practices that have not been lost and require no reinvention to begin with. DRINK! 0.13: The narrator is referring to movie depictions of archery as if they are proper sources that competitive bowmen, reenactors and historians rely on. If Lars Andersen want to critique popular images of archery, he is welcome to do so, but such representations have nothing to do with archery as it is studied and practiced. DRINK! 1.12: The narrator says an archer must be able to shoot and move rapidly. This is complete and utter nonsense because they are assuming there was only one style of archery, and one type of archer, and that they existed in an unchanging form throughout history. The standing regiments of the Persian Achaemenid Empire employed archers in a static formation behind shield walls: "the Persians had made a palisade of their wicker-work shields and were discharging their arrows in great multitude and without sparing,—Pausanias, seeing that the Spartans were hard pressed and that the offerings did not prove favourable, fixed his gaze upon the temple of Hera of the Plataians and called upon the goddess to help, praying that they might by no means be cheated of their hope" Artwork of Assyrian archers also show them standing behind a shield-bearer, meaning jumping about like a caffeine-infused squirrel was not their preferred method of shooting: http://biblelandpictures.com/wp-content/uploads/2015/04/2435-3-Assyrian-archers.jpg It is also useful two note that the two archers in the image are drawing the bow at the same time, indicating that volley shooting may have indeed been used, although they would have not been held at a draw as that would have been too tiring. Moving onwards to Roman history, Anna Komnena describes the following formation designed by the Emperior Alexios Komnenos: "Having noticed this from long experience the Emperor arranged his lines and phalanxes in such a way that the Turks should shoot from the right side, the side on which the shields were advanced, and that our men should shoot from the left, the side on which the Turks’ bodies were unprotected." The reference to lines and phalanxes makes it clear that it was an ordered formation, and that the archers would thereby be shooting from a stationary position. Enguerrand de Monstrelet, writing in the 15th century AD, describes the English archers as being both stationary (one does not plant stakes into the ground if one planes to cavort) and shooting as a mass volley: "The rest of the English remained with king Henry, and were shortly after drawn up in battle array by sir Thomas Erpingham, a knight grown grey with age and honour, who placed the archers in front, and the men-at-arms behind them. He then formed two wings of men-at-arms and archers, and posted the horses with the baggage in the rear. Each archer planted before himself a stake sharpened at both ends. " and "Their archers, amounting to at least thirteen thousand, let off a shower of arrows with all their might, and as high as possible, so as not to lose their effect". Similarly, speed of shooting was not always preferred. The Roman writer, Vegetius, described the training of archers: "A third or fourth of the youngest and fittest soldiers should also be exercised at the post with bows and arrows made for that purpose only. The masters for this branch must be chosen with care and must apply themselves diligently to teach the men to hold the bow in a proper position, to bend it with strength, to keep the left hand steady. to draw the right with skill, to direct both the attention and the eye to the object, and to take their aim with equal certainty either on foot or on horseback. But this is not to be acquired without great application, nor to be retained without daily exercise and practice." Strength and accuracy is clearly emphasized as opposed to letting loose as many arrows as possible. DRINK! 1.16: The video is showing a page from the Strategikon of Maurice to support the assertion archers always shot rapidly. This ignores that methods of archery were different depending on the culture and time period. DRINK! 1.20: The narrator claims that, as we know from tribal warfare and historical texts that an archer who stands still and shoots slowly is useless. So useless they were used in a stationary fashion for thousands of years. DRINK! 1.24: The narrator says fast-shooting is the only way to get past a shield, whilst showing people getting hit by arrows whilst carrying ahistorical shields. A Roman scutum from the Republican era: http://www.roman-reenactor.com/wpimages/wp949aa6da_05_06.jpg Could protect a wielder completely from a bowman, no matter how fast they shoot. DRINK! 1.37: The narrator states historical archers would train on moving targets whilst in motion themselves. From which culture and which era? Anna Komena writes: "The Emperor arrived in Thessalonica, as already stated, and there prepared for Bohemund’s crossing by training the recruits in stretching the bow and shooting arrows at a mark". This is a clear reference to 'historical' Byzantine archers shooting at a non-moving target. Artwork such as this image from the 14th century Luttrell Psalter: http://www.historic-uk.com/assets/Images/luttrellarchery.jpg?1430303998 Also show archers taking aim at a stationary target whilst not comporting themselves in the manner of gymnasts. It was horse archers who would train whilst in motion. DRINK! 1.44: The narrator says archers never used the well-known round target with separation lines. Except for the CLEAR ROUND TARGET WITH SEPARATION LINES FROM THE LUTTRELL PSALTER! DRINK! 2.09: The narrator claims that historical bows consisted only of string and bow, and nothing else. This is an immensely gross simplification. Historical bows could be constructed of multiple materials, with various design elements such as siyahs and laths. Bow cases were also important, they could protect the bow from humid conditions which could cause it to weaken. DRINK! 2.12: The narrator seems to think modern sport archery and ancient and medieval war archery were the same thing. DRINK! 3.14: Now the narrator is stating how advantagous trick-shooting was in battle. I have an image now of a Persian archer somersaulting through the ranks at Thermopylae and killing Leonidas with a curving arrow in slow-motion. 3.31: Congratulations Lars, you shot the horse. A pity it was wearing armor and just trampled you and crushed your skull. Alternatively, the horse kept on going because the single arrow was not enough to kill it and the rider just put a lance into your throat. 3.84: Okay guys, you heard it here first. Everything in an ancient myth can be taken literally! 4.05: Hitting an arrow in flight is not really useful when there are several thousand more coming at you. Battlefield conditions were completely different from trick-shooting. DRINK! Sources: The Alexiad, by Anna Komnena: http://www.yorku.ca/inpaalexiad_dawes.pdf The Chronicles of Enguerrand de Monstrelet: http://deremilitari.org/2013/02/battle-of-agincourt-1415 The Composite Bow, by Mike Loades De Re Militari, by Vegetius: http://www.digitalattic.org/home/wavegetius/index.php#b106 The Histories, Volume Two, by Herodotus: http://www.gutenberg.org/files/2456/2456-h/2456-h.htm
2017.09.16 12:45 ByzantineBasileusA Review of The Latest Lars Anderson Archery Video
Greetings Badhistoriers! Lars Andersen, the noted archery fraud, has released another video: https://www.youtube.com/watch?v=R8dBQVDROdA As it contains numerous inaccuracies, I thought I should address them. I should state that, first and foremost, I am not an archer and nor do I have any experience with archery, either as a sport or in terms of reenactment. For this reason I shall examine his claims from an academic and historical perspective by utilizing various primary and secondary sources that clearly contradict his assertions. My imaginary drink shall be a bottle of Woodford Reserve Kentucky Bourbon Whiskey, so let us begin! 0.05: The narrator says that Lars Andersen is trying to reinvent historical archery. There are two problems with this. The first is that archery was employed across the world, which each individual culture maintaining their own unique methods and approaches . Thus there was no single style to reinvent. Secondly, many traditional forms such as Mongolian and Japanese archery still exist, so there are still plenty of practices that have not been lost and require no reinvention to begin with. DRINK! 0.13: The narrator is referring to movie depictions of archery as if they are proper sources that competitive bowmen, reenactors and historians rely on. If Lars Andersen want to critique popular images of archery, he is welcome to do so, but such representations have nothing to do with archery as it is studied and practiced. DRINK! 1.12: The narrator says an archer must be able to shoot and move rapidly. This is complete and utter nonsense because they are assuming there was only one style of archery, and one type of archer, and that they existed in an unchanging form throughout history. The standing regiments of the Persian Achaemenid Empire employed archers in a static formation behind shield walls: "the Persians had made a palisade of their wicker-work shields and were discharging their arrows in great multitude and without sparing,—Pausanias, seeing that the Spartans were hard pressed and that the offerings did not prove favourable, fixed his gaze upon the temple of Hera of the Plataians and called upon the goddess to help, praying that they might by no means be cheated of their hope" Artwork of Assyrian archers also show them standing behind a shield-bearer, meaning jumping about like a caffeine-infused squirrel was not their preferred method of shooting: http://biblelandpictures.com/wp-content/uploads/2015/04/2435-3-Assyrian-archers.jpg It is also useful two note that the two archers in the image are drawing the bow at the same time, indicating that volley shooting may have indeed been used, although they would have not been held at a draw as that would have been too tiring. Moving on to Roman history, Anna Komnena describes the following formation designed by the Emperior Alexios Komnenos: "Having noticed this from long experience the Emperor arranged his lines and phalanxes in such a way that the Turks should shoot from the right side, the side on which the shields were advanced, and that our men should shoot from the left, the side on which the Turks’ bodies were unprotected." The reference to lines and phalanxes makes it clear that it was an ordered formation, and that the archers would thereby be shooting from a stationary position. Enguerrand de Monstrelet, writing in the 15th century AD, describes the English archers as being both stationary (one does not plant stakes into the ground if one planes to cavort) and shooting as a mass volley: "The rest of the English remained with king Henry, and were shortly after drawn up in battle array by sir Thomas Erpingham, a knight grown grey with age and honor, who placed the archers in front, and the men-at-arms behind them. He then formed two wings of men-at-arms and archers, and posted the horses with the baggage in the rear. Each archer planted before himself a stake sharpened at both ends. " and "Their archers, amounting to at least thirteen thousand, let off a shower of arrows with all their might, and as high as possible, so as not to lose their effect: " Similarly, speed of shooting was not always preferred. The Roman writer, Vegetius, described the training of archers: "A third or fourth of the youngest and fittest soldiers should also be exercised at the post with bows and arrows made for that purpose only. The masters for this branch must be chosen with care and must apply themselves diligently to teach the men to hold the bow in a proper position, to bend it with strength, to keep the left hand steady. to draw the right with skill, to direct both the attention and the eye to the object, and to take their aim with equal certainty either on foot or on horseback. But this is not to be acquired without great application, nor to be retained without daily exercise and practice. " Strength and accuracy is clearly emphasized as opposed to letting loose as many arrows as possible. DRINK! 1.16: The video is showing a page from the Strategikon of Maurice to support the assertion archers always shot rapidly. This ignores that methods of archery were different depending on the culture and time period. DRINK! 1.20: The narrator claims that, as we know from tribal warfare and historical texts that an archer who stands still and shoots slowly is useless. So useless they were used in a stationary fashion for thousands of years. DRINK! 1.24: The narrator says fast-shooting is the only way to get past a shield, whilst showing people getting hit by arrows whilst carrying ahistorical shields. A Roman scutum from the Republican era: http://www.roman-reenactor.com/wpimages/wp949aa6da_05_06.jpg Could protect a wielder completely from a bowman, not matter how fast they shot. DRINK! 1.37: The narrator states historical archers would train on moving targets whilst in motion themselves. From which culture and which era? Anna Komnena writes: "The Emperor arrived in Thessalonica, as already stated, and there prepared for Bohemund’s crossing by training the recruits in stretching the bow and shooting arrows at a mark" This is a clear reference to 'historical' Byzantine archers shooting at a non-moving target. Artwork such as this image from the 14th century Luttrell Psalter: http://www.historic-uk.com/assets/Images/luttrellarchery.jpg?1430303998 Also show archers taking aim at a stationary target whilst not comporting themselves in the manner of gymnasts. It was horse archers who would train whilst in motion. DRINK! 1.44: The narrator says archers never used the well-known round target with separation lines. Except for the CLEAR ROUND TARGET WITH SEPARATION LINES FROM THE LUTTRELL PSALTER! DRINK! 2.09: The narrator claims that historical bows consisted only of string and bow, and nothing else. This is an immensely gross simplification. Historical bows could be constructed of multiple materials, with various design elements such as siyahs and laths. Bow cases were also important, they could protect the bow from humid conditions which could cause it to weaken. DRINK! 2.12: The narrator seems to think modern sport archery and ancient and medieval war archery were the same thing. DRINK! 3.14: Now the narrator is stating how advantageous trick-shooting was in battle. I have an image now of a Persian archer somersaulting through the ranks at Thermopylae and killing Leonidas with a curving arrow in slow-motion. 3.31: Congratulations Lars, you shot the horse. A pity it was wearing armor and just trampled you and crushed your skull. Alternatively, the horse kept on going because the single arrow was not enough to kill it and the rider just put a lance into your throat. 3.84: Okay guys, you heard it here first. Everything in an ancient myth can be taken literally! 4.05: Hitting an arrow in flight is not really useful when there are several thousand more coming at you. Battlefield conditions were completely different from trick-shooting. DRINK! Sources: The Alexiad, by Anna Komnena: http://www.yorku.ca/inpaalexiad_dawes.pdf The Chronicles of Enguerrand de Monstrelet: http://deremilitari.org/2013/02/battle-of-agincourt-1415 The Composite Bow, by Mike Loades De Re Militari, by Vegetius: http://www.digitalattic.org/home/wavegetius/index.php#b106 The Histories, Volume Two, by Herodotus: http://www.gutenberg.org/files/2456/2456-h/2456-h.htm