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Band Review: MAGNA CARTA CARTEL
Photo by Claudio Marino
MAGNA CARTA CARTEL (MCC) has posted their new single, The Demon King (also the title track), and has set May 5th for the release of this newest compilation via CD or Download.
If you are not familiar with this band, allow me to introduce you. The names of the members may not seem familiar to you now, but it would behoove you learn them
• Martin Persner - Guitar/Vocals
• Simon Söderberg - Guitar/Vocals
• Par Glendor - Guitar/Synthesizer
• Arvid Persner - Drums/Guitars
• Tobias Forge - Guitar/Bass
As an author, I often use music to set a mood or give inspiration to my work. I'm always searching for new sound to replace the old. It was serendipitous when I found this band. I happened upon its existence through a video by Mark Persner concerning his part in another band. (I will not divulge the name of the band and let you make this discovery for yourselves).
The author of the blog explaining the meaning behind this song did a wonderful job at humanizing several emotions. The personification of emotions such as anxiety and OCD, among so many others that haunt many of us, allows us to have that dialogue with our demons (hence the title - The Demon King).
The entire ensemble plays to perfection behind a whispered, emotionally charged vocal. This band knows how to hold back, when to come forward with their amazing sound, and when to allow the vocalist, with his story, to become our center of attention.
As a writer, I am always appreciative of lyrics being posted and they do provide a video with lyrics on their Facebook page linked below.
They refer to their music as magical rock, however, I would go as far as to say it is ethereal by nature and balances upon the apex of mystical with hints of the alchemical ghosts that haunt each of us, always just out of reach. We know them personally and the pull of their invocations keep the deepest, darkest realms of our consciousness in a constant state of desire – a desire to understand it all despite the trepidations.
Bravo to MCC for giving our personal demons personification. It is difficult at best, to try to explain what emotion feels like, much less how perfectly real they are in the time continuum of our daily lives.
Give them a listen. There are several links on their Facebook page.
-M Teresa Clayton, Mystic and Author
MCC OFFICIAL
Labels: Music Reviews
Single Review: SHE WANTS THE D-PAD & GOT ITEM! Dig Up Her Bones (Misfits Cover)
SHE WANTS THE D-PAD & GOT ITEM!
Dig Up Her Bones (Misfits Cover)
It's been two decades since I heard this song's original incarnation, recorded by the Misfits on their comeback album American Psycho. As much as that album reestablished them as one of the USA's premier punk bands, Missouri's She Wants The D-Pad with Got Item! breathe new life into Dig Up Her Bones by presenting an entirely new interpretation. From Chase Fincher's interview here, She Wants The D-Pad a Nintendocore band that enhance their songwriting with electronic sounds as opposed to keyboards, strings and backing vocals. I hadn't heard anything from Got Item! before hearing of this single; Got Item! is a Nintendocore project based in Sacramento, California that mixes guitars and high pitched vocals with their electronics. Pooling their resources together, these bands created what could be a milestone in underground music validating N-core as a legitimate genre. Even within Nintendocore it sounds like a unique recording, with a well-founded organic base and multiple layers collected during the recording process. The laconic intro of a werewolf howling in the distance (which Chase said is sampled from The Legend Of Zelda: Ocarina Of Time) sounds similar to the Misfits' recording, however the similarities abruptly end as this version moves toward computerized themes, drum programming and background guitars providing a traditional death/black metal element. For a backing instrument, the guitar is an integral part of the cover, adding crunch that is joined by the drum programming. This is complemented by cybernated progressions that complete the overall sound. The vocals are another of the organic elements here, alternating between high pitched and low pitched (in the verses) and melodic in the choruses. What's most moving about this track is that those involved took it seriously enough to make these elements work together. How well they work depends on your personal taste but all the same this is a cover worth checking out, if for any other reason because it has never been tried before. -Dave Wolff
Posted by Dave Wolff at 11:33 AM No comments:
Interview with author TODD CARD by Dave Wolff
Interview with author TODD CARD
In our first interview for Autoeroticasphyxium (when it was in print) we discussed your novel Hell Cometh. How well has it done since the interview was published? Are copies of the book still in print?
First, I would like to thank you and AEA for giving me another opportunity to discuss any aspect of my writing history. AEA was, and has remained, an outlet which supports efforts such as mine, and I am grateful to have associated my content with them during my writing career.
With the exposure from AEA, I garnered a wealth of information exchange as well as an extended reader base, which I would have never seen otherwise. Hell Cometh reached levels of success of which I never dreamed. Many copies were sent to various countries around the world. I find it flattering that my work has been so well received.
After your interview, I was subsequently asked to do many others through a variety of media publications. In their own way, each managed to shine a light on my little book and many more copies sold, to my delight. The paperback went into a fourth publication when the publisher decided to distribute a different way. My work was placed on the Internet for digital distribution. As of that point, I have been unaware of any aspect of its online or printed copy success. Amazon Prime members are able to read the entire novel for free online.
Most of the interviews were within the United States, but I did take part in a couple of articles and talk show blogs, which were internationally based publications. The first was out of Canada.
I was not aware your interview led to that much success for you. From what countries outside the U.S. did you receive orders for Hell Cometh? Did your increased readership include both authors and fans?
There were many who approached me to do audio, video, and written interviews, which went out in various directions. In turn, granting my work far more exposure than I ever anticipated during the initial publication process. I should add, at that point, the beginning of Hell Cometh being introduced to a public format, my web exposure was massive by comparison to what it is now. The more interviews I did, the more exposure through those outlets I gained, as well as my personal promotions through my social connections. The footprint for that novel grew at a breakneck speed, much to my astonishment. At one point, I was featured on the front page of the Current In Carmel (a local newspaper for towns in Indiana--where I lived at the time of initial publication). They also granted me a generous two-page centerfold article which featured fan based photos from all over the country and locations around the world.
Many new readers reached out to me and my publisher to generate larger distribution efforts. The novel soon sold to every state in the United States of America, and then . . . we began receiving international shipping requests. I was aware of many of those shipments because I signed countless copies to be shipped. We sent cases of the book to the United Kingdom, Scotland, Ireland, Sweden, Holland, Canada, South America, Japan, Australia, New Zealand, and more. Listed in no particular order. Here is an interesting bit of information. When shipping to Australia, expect your shipment to take a very long time to reach the projected destination.
My new reader base did include several authors, as well as fans. Some of these authors were friends of mine through social media, also from meeting entertainment personalities such as Norman Reedus, Laurie Holden (who played Andrea in The Walking Dead) ordered her copy from my publisher personally and subsequently spread my work throughout the main (inner circle) cast of the show, Traci Lords, etc. Many of those folks had exposure to writers and other authors who contacted us seeking copies of the book. We even sent out media kits to a few contacts seeking a possible opportunity to turn the work into a movie. One of those media kits went to Rob Zombie's Wife, Sheri Moon Zombie. Nothing ever really materialized from those kits.
As a result of these exchanges, I ended up meeting personalities who write for Star Trek and other horror and science fiction outlets. I gained influence throughout writer communities all over and was able to help very talented friends of mine to get published and find success. At one point I created a group on Facebook, Splatterpunk Saints. My intent for this group was to attract people from various creative directions to pool our efforts to offer free and effective help to those who needed it. Eventually, I walked away from this group once it was self-sustaining. I was able to grant exposure and provide help to others. My splatterpunk mess began to serve the greater good and I was happy.
Did you expect Hell Cometh to blow up as big as it did when you initially released it? Describe the surprise you experienced when you saw how successful it became.
I would be lying if I said I had any expectations for that book's (as I do with all my others, I have stashed) success. I never expected that story to find its way out of my trunk. Had it not been for a super nosy houseguest, it would have never seen the light of day. Any success was shocking--beyond my wildest dreams! I tried to plug the book everywhere I went, but then I got an interview with a news publication in Carmel, IN (where I lived when Hell Cometh launched) things really went crazy. I was placed on the cover of that publication and given a center spread. TWO PAGES PLUS THE COVER?! Floored...is the only way I can describe how I felt.
Then I had a tattoo parlor wanting to do my cover design as a tattoo for me, to promote their shop! I laid for five hours to get my artwork tattooed onto my leg! Totally free! However, I gave the tattoo artist a generous tip for his time and skill. They wanted to be able to advertise that I got work done there. And then, a local party supply store brought me in to sign copies of my book during their annual Halloween day sale! When I showed up, they had posters of my work and me in their window! There was a line of people waiting to buy copies! There were people in that line, who already owned signed copies--and they were buying more! This also happened at the conventions. I actually met a creative writing professor associated with the University of Kentucky who brought several students along to buy more copies of Hell Cometh at that convention. They all introduced themselves, told me how much they loved my story, and then he told me he was using my work as an example to his students in his class! You could have knocked me over with a feather! My work was being used to teach higher learning?! My work?! I still think I was simply hallucinating...yeah, that's it--hallucinating.
Totally and completely Gobsmacked, was I.
I met people everywhere I went who had bought my work. There were people coming up to me at the grocery store to talk about my book. My insurance guy called me up, out of the blue, and told me he had seen me on the cover of The Current in Carmel. He wanted five copies of the book! My doctor told me he had seen it too! It was as if everywhere I turned, people were coming up to me. Suffering from extreme P.T.S.D. and an acute anxiety disorder, the way I do, I can't express enough how all this sudden attention presented some interesting challenges for me. Eventually, I understood not everyone who approached me was out to kill me. I have to laugh at that, but it is true.
Then, one Christmas morning, I was greeted with a pile of unexpected gifts left at my front door! They were all from Zombie Santa! One gift was a very expensive gift set of Crystal Skull Vodka (the one with the extra two shooter skulls). Shocked and amazed, was I. Any success was welcome, but all of this really made me feel wonderful. Coming from such a past as mine, it was so simply wonderful. I am about to turn 48 and I have never had a birthday party. Growing up, I never got anything for Christmas. My birthday was never celebrated. I was a part of a family of four and there were only three chairs which sat around our kitchen table. I was forced to eat my food while standing with my back to the family, the furthest distance away from the table as possible. So, I have always felt as if I was nothing special to anyone. I have never really felt so appreciated and loved. I felt love, probably for the first time in my life, and it was good.
Don't get me wrong, I'm not looking for a pity party, it is just how my life has been. My book changed all that. Something I created brought me love and admiration. That story was always nothing more to me than a notebook stuck in a trunk. That was all it was ever meant to be. Anything positive was a total surprise.
Which publication from Canada was the first outside the U.S. to interview you? How much information did you relate about Hell Cometh? Did you receive a free copy of this publication if it was in print, or do you have a link if it was for the net?
I must confess. I consider blog sites and fan sites to coexist with traditional paper and print publications. Perhaps, many would disagree with my consideration on this subject, however, that is how I feel. After your interview was published about me and my work, I went on a blitzing campaign to gain as much notice as possible. I did not have a publicist, nor a literary agent. Therefore, I worked directly for my publisher in the capacity of promoting my work, made available through them. So, through my Facebook and Twitter campaigns, I accumulated a lot of friends and readers. I shot your interview with me out, like there was no tomorrow. That gained the attention of a Blogtalk radio group called, FRANCY AND FRIENDS Online Radio/BlogTalkRadio. It was through this group I conducted my first audio interview. Again, I blasted the link to this interview all over Facebook and Twitter.
With the numbers of friends associated with my info blasts, many began to repost my posts and retweet my tweets. The next two audio interviews came about. One of the two was associated with FRANCY AND FRIENDS as a Canadian affiliate. The second was with the Gruesome Hertzogg Podcast. I believe it was one of these two. However, at the time of these interviews, I was participating in many. All of the interviews in which I have participated, written, audio, and video presented to me with different lines of questioning but all mostly concentrating the perspective on my work, Hell Cometh.
Most of the feedback of the audio and video publications submitted links from the interviews along with detailed information regarding their particular forms of info-sharing. I'm most cases, I was able to taper down my advertising to posting simple links with small parcels of information. Between those who conducted the interview and my modest word of mouth, interest spread. The greater the word spread the faster requests were submitted for more interviews and the volume soon became overwhelming.
Yours is one of the rarest of these, as you took the time to send a copy of our time together, as well as more samples of your printed work. This is one of the main reasons I have endeavored to retain communication with you and appreciate your interest in me. Your publication is bold, daring, and carries a swagger I find healthy and energetic. And it stands to this day, whereas other interviews I conducted no longer exist or have taken 'said links' down in favor of more current personalities.
What else can you tell the readers about FRANCY AND FRIENDS? Where on the internet can this group be located and what guests do they usually have?
At the time I was contacted to do the interview for FRANCY AND FRIENDS, I really didn't know who they were. They reached out to me through Facebook and requested my time. I was happy to do anything I could to promote the launch of my initial offering. Once we agreed to a call time, I contacted everyone on my social networking sites and invited them to tune in. Not only did many follow the link to listen, several took the time to call in with questions for the podcast! I was shocked my work had attracted so much attention and even more astounded to hear my friends from the Internet calling in to speak with me and give their feedback about my novel.
I conducted the interview while sitting outside in my backyard, enjoying a late Spring evening. At this point in the game, I was not accustomed to people wanting to talk to me about my work. I had not attended any conventions or book signings. Those would come later. At the time, I was blown away with all the support and reader testimonials! I had no idea what awaited me on the convention circuit and book signings. My wildest notions would pale by comparison to what I would later experience. FRANCY AND FRIENDS and Gruesome Hertzogg launched my work into a higher realm of notability, which caught me completely by surprise.
Since I have been away from the social networking side of my work, I have had to retrace my footsteps from back then to find links to interviews and reviews, for that project. I found FRANCY AND FRIENDS here.
The statement on their landing page covers what they do. "WE ARE FRANCY AND FRIENDS AND WE ARE PROUDLY SPONSORED BY BLACK BED SHEET BOOKS http://www.downwarden.com/blackbedsheet AND SHOT IN THE DARK COMICS http://www.shotinthedarkcomics.com/ SO JOIN JOY FLYNN AND I AS WE TRY TO BRING YOU THE BEST IN ENTERTAINMENT. AS WE INTERVIEW SOME OF THE GREATEST ENTERTAINERS OF ALL TIME! WE ALSO HAVE THE VERY LOVABLE JOHN LINK"
I have searched this site thoroughly, but have been unsuccessful in finding my actual interview with them. I would suspect, after this long, my time would have been purged to make room for more recent guests.
I did, however, locate the interview I conducted with Gruesome Hertzogg! It can be found at this link.
Who were some of the people who called in while you were interviewed on FRANCY AND FRIENDS? Did you have callers seeking an audience with you on Gruesome Hertzogg?
Out of fear of forgetting someone who called in, I would simply like to say it was around five or six friends from Facebook and a couple of friends whom I personally know. They were all excited about the interview and all wanted to ask a question (or questions) regarding my work at the time. They called in with both FRANCY AND FRIENDS and Gruesome Hertzogg. All were super supportive and excited about what I had produced. I felt their affection and support, which left me with an odd sense of vindication after the interview.
When I say, 'vindication', what I mean is...I have fought a lifelong battle with severe Dyslexia. This challenge has been with me since the very beginning of my life. I had lived in Florida when I started school. My 'challenge' was discovered then, however, my intellect was also revealed at that time. Once testing through the school system was concluded, it was decided that I should attend a Governers School for the Gifted and Talented. Back in the early 70's I would attend a different school entirely from the one I originally started. These days, those schools have been integrated into the general education programs with enhanced programs for students who are recognized for their intellect. Soon after my family moved to Virginia. Despite growing up in such an impoverished area of Virginia--I have been able to maintain the skills required to write large bodies of work, such as Hell Cometh.
My grandparents, on my mother's side (the quote which begins Hell Cometh was from my dearly beloved grandfather), insisted I grow up learning from the Funk and Wagnal Encyclopedia. My dearly loved and departed mother, (may God rest her soul) insisted I learn from those volumes, while she signed me up for a subscription to National Geographic. She kept my mind focused and guided me towards a life of dreaming for bigger things. With the philosophy that I could literally do anything I want, with no respect to any kind of disability, such as Dyslexia. Despite being born a 'blue baby' (what they called us back then), I have managed to overcome the odds stacked against me, more times than I care to mention. I have lived a wonderful and exciting life, for which I am truly thankful.
Who did you meet who had written for Star Trek? Which spinoff series of the show were they associated with?
The writer for Star Trek was a friend of mine on Facebook before an invitation to Splatterpunk Saints had been extended in his direction. I wish to reserve his name (out of respect for his privacy) but his Facebook profile had him (at the time) working from the Netherlands. We met (via Facebook) through another author group with which we had both been members. My general understanding of his connection with the Star Trek franchise was, he worked as a writer for the newer market audiences. Trekkies who love the new concepts within the traditional essence of Star Trek and those who are recently new to the latest movie experience. He always exercised a high level of diplomacy and professionalism where I was concerned. I could clearly see how well he fit in with other writers who were also members of Splatterpunk Saints. I am unaware of any spin-off experience he may have and I have not visited his web-based social connections in a very long time. That is to say, in excess of over a year ago.
How often did you make convention appearances promoting Hel Cometh? Any memories you want to share from them?
I started doing the conventions which came to the Indianapolis area. Since promoting for my work was basically left entirely to me, I paid the table fees and bought the books for resale at the conventions. I attended my first horror convention as a spectator, just to get a feel for the event genre. I was blown away by how cool this convention was!
I met celebrities who were interested in my work, who took copies of Hell Cometh (of course I took several copies to hand out for promoting while I was there), took pictures with me and my work, and who kept up with me after the curtains closed. This is where I met Norman Reedus. It was a stroke of dumb luck, we met. He was super gracious and friendly to me. We talked for a while, he took a picture with me, we talked further and he took a copy of Hell Cometh. I firmly believe he was the one who got those in the main cast of The Walking Dead (at that time) to start ordering copies of my work. It was a great time.
I was hooked on the conventions! I started signing up for every horror convention coming through the Indianapolis area. They were a lot of work, I was already sick and heavily medicated, but that didn't stop me. I started buying table space and selling copies!
One note of interest. I had joined a local horror writers club in the Indianapolis area. I went to a couple of meetings. Met a wonderful friend, who is still a friend to this day, but learned what not to do if I wanted to succeed. I left the group just before Hell Cometh was launched because I felt those meetings were nothing more than an ego stroke fest for those who had already published work. I found little to no actual support, but learned that if it was to be, it was up to me!
At my second Days of the Dead convention, I had two tables in a primo location. That is a lot of space! By that time I had learned to get a good spot in a hot location where I could most effectively work the traffic. The Days of the Dead organizers were also familiar with me and my product from a previous convention together. They were wonderful and accommodating in every way. I will always remember the Days of the Dead folks. Good people and outstanding conventions!
I had gained marketable experience with these conventions and it paid off, with huge dividends. The head of the very same local horror writers group was down from me a bit at my last Days of the Dead convention. He unloaded his novellas and had a pretty fancy spread going up when I noticed his booth. He waved and came over to say hello. I was nice in return. He acknowledged my work, which he had publically poo-pooed in front of the other attendees at the last group meeting. I could easily handle the criticism within the organization but I could not stomach the ego on this guy and some of the others in the upper positions within their organization. I signed a copy and gave it to him. He told me to come over to his table and buy any of his books I felt like I just had to have.... Real cute. Later he would decide to try every way possible to get me to return to his collective. I will explain.
The convention doors swung open and within minutes people worked to buy copies of my work. His fishing hole stayed dry from what I could see. Other vendors in my area of the convention floor wondered aloud what my deal was. I was shocked! The people just kept coming! A friend of mine and a contributor to Hell Cometh is Aaron Hoover of Carmel, IN. He helped me through that convention. I was quite ill, unable to do a lot of the lifting, and not making great decisions. He worked like a champ to promote the book, answered questions asked by interested parties, and provided me with outstanding company all three days. Honestly, I would have never been able to make it through that convention without him. He and his friends, Paul Arnone and Micah Wade Beck with others, ran the floors of the convention and actually funneled more interest and readers to my table. Those guys made that convention one of the most special occasions of my entire life. All, out of the kindness of their hearts. I couldn't sign the copies fast enough! The leader of the local horror writers group was so upset over my apparent success, he didn't even work his own table on the last day. He just left. Winning through success is such a sweet victory. I also rejected his and others requests to return to the writers group. I made a good friend of one of them and cherish that friendship to this day, but I would never attend another meeting.
Aaron Hoover also did something else which was special to me. He knew how much I thought of Traci Lords. She was at this convention. He labored in secret to get me a signed copy of a print from her and then, on the last day, Traci Lords came walking up to my table! I was gobsmacked by this! My boyhood dreams had come true! There before me stood Traci Lords. Asking for a copy of my work. She came from her booth and walked all the way across the convention, full of fans, to come see me! She came around to my side of the table as others stood around with their jaws dropped, gave me a strong hug, took some pictures and video with me, grabbed a copy of Hell Cometh, and then softly faded away. That was one of the greatest days of my life. Thanks to Aaron Hoover and his friends.
When you heard one press kit went to Sheri Moon Zombie, did you hope that Rob Zombie would possibly work on a film version of Hell Cometh? How well would a film version of the book do if one was ever made?
After Hell Cometh was on the market for a while, reader supported fan pages began to pop up. A young lady from Big Stone Gap, Virginia (Teresa) started talking about the way my work read. I was told repeatedly by different folks, none of whom knew one from the other, my work "...reads like a movie!" There was a discussion, albeit brief--on what director most participating within that discussion felt would do the book justice. Not only was Rob Zombie's name among the first lifted for consideration, the vast majority agreed that he was perfect for the job . . . if he approached it from the perspective of how he remade Halloween. These readers, on their own, generated a method of communication between my publisher and those in Sheri Moon Zombie's public relations group. My publisher sent the press kit and nothing further was mentioned. We all simply assumed there was no interest and we moved on.
This reader from Big Stone Gap, Virginia (which is located less than twenty minutes from the actual town that inspired Wisdom, Virginia. The location of Hell Cometh), was at the time, a student of Mountain Empire Community College in Big Stone Gap. She took the initiative to talk to the campus audio visual department about doing a documentary about the book and me as its writer. She was quite determined to spread the word about my work.
I firmly believe Rob Zombie would bring justice to my work. If, as others have stated, he stayed true to the principles, by which he directed the remake of Halloween. I feel he could create a fantastic work of art. Others may disagree, but I see his eye through his work. He approaches the depiction of life at its true value. He represents his work from a visceral perspective, which is exactly how I wrote Hell Cometh. Life, at some point or another, is visceral. I am not concerned with 'gilding the lily' with my work to appeal to a greater majority of readers. As a writer, I want to grow and refine my art, but I want it always to remain true. Visceral in its many states. I feel Mr. Zombie appreciates that aspect of the art he creates in movies.
How many people joined Splatterpunk Saints after you launched it on Facebook? How many contacts did you make there?
I created Splatterpunk Saints to do something on a large scale. I wanted to help other writers, artists, musicians, editors, and so on. I also wanted this group to observe a constitution of principles dedicated to helping others without the expectation of reciprocation.
When I had reached a certain level of publication, I realized I could help others with certain contacts I had made along the way. I was approached to write a short story to be added to a horror anthology. The person who proposed this idea to me worked with me on a couple of ideas. At the time this came about, I knew of an insanely talented dark poet--heavily influenced by the works of Edgar Allen Poe. I proposed the idea of me coming on board for this work if he also allowed this dark poet the opportunity to publish his work within certain sections of the book. I felt this man could keep the pulse steady between each short story by contributing his pros and suddenly we had an agreement. I felt this man had tremendous talent and needed the rest of the world to sample his amazing work. Telling him about his additions to this project brought me great joy. And, he has succeeded wonderfully after the initial exposure in that work. We are great friends and consider ourselves brothers through our craft. I wanted others to know this feeling.
I built the forum and invited key players into the game of Splatterpunk Saints. They were writers, editors, artists, poets, publishers, etc. We all agreed that any new members would have to come through invitation only and we were to remain elusive while in pursuit of outstanding contributors, as well as people we could help. I was acting president of this organization as we began promoting our members, sharing samples of work, and helping others find success. I quickly learned I would need, not one but two vice presidents. So, we could keep an even standing with decisions in the future. We had fun playing in our little Facebook sandbox. I met a blinding array of new talent, seasoned professionals, and supercharged dreamers. All of whom it was my great pleasure to know. After a while of working with this organization, I looked closely at our group and decided they could proceed without me. I was no longer a necessary component to the thriving success that was Splatterpunk Saint. Perhaps, I never truly was? I stepped away from the group and left it in incredibly capable hands. I haven't returned, but I'm sure they are still going wonderfully. They were freely giving, bartering, thriving, and blessing the world with kindness and assistance. I'm profoundly confident, this continues to this day.
You were on hiatus from social media. What did you do during your time off and want made you decide to return?
My hiatus from all social networking and advertising came about for many reasons. I will state, without question, I found the task of walking away quite painful. I had amassed a large collection of good friends, both from my childhood, as well as new friends from the Internet. I announced, for my reasons, I was going to walk away and that is exactly what I did. Now, saying something and following through with your statement can be a daunting challenge. I was forced into walking away, and so I had to turn my back on solid friends...much to my deepest sorrow, and do just that. Walk.
The most important reason I left social networking was because I was diagnosed with a serious and devastatingly aggressive disease just after Hell Cometh launched. It was weeks before I could sit my wife down to tell her and then even longer before we talked to our daughters and my in-laws. I have no family left on my side of our marriage, so I didn't need to worry about anything there. I was placed on an incredible amount of medications, which shook me to my core. One doctor led to the next, who led to another specialist, which added more medications on top of the mountain of pills I consumed each day. I found myself going through x-ray machine after x-ray machine, MRI machine after MRI machine, CT scan after CT scan. Finally, I ended up in a state of complete vegetation. One fine day two specialists told me, together, I had four years left to live. Approximately.
I had a decision to make. We lived in a state far away from my wife's family. We were paying on a mortgage. Do I just ride things out and die, to leave my wife alone--isolated from anyone she knows? Leave her alone with two kids and a mortgage to pay? Or, do I rally myself and put in the work to change the future for my spouse and kids? I had been told my days were numbered and something had to be done. Again, I was given my terminal diagnosis alone. It took me about a month to talk to my wife about what I had learned. After learning how sick I was, we talked for a while. When she stopped crying we talked about how we would tell our kids. How we would approach talking to her parents. What we, as a couple, would tell our friends. My wife and I decided, to be honest, and just tell everyone. We did just that. Let the chips fall where they may. We decided it was time to fight again, not take the diagnosis lying down.
So, I put a call into my doctor's office to ask about the medications I was taking and any alternative treatments I could use to prolong my life. My doctor stated the following, "Mr. Card, you are on the medications we have prescribed because we want you to be comfortable in your final days." That was it. I replied, "So, what you are saying is, you are numbing me out to die? Is that all? Nothing more?" Her response was, "Yes." I fired them on the spot. We started looking for locations throughout the country to treat my condition. We found Oregon State University Hospital in Portland, Oregon. All the way across the country. My wife and I talked more about the future and decided it was time to sell the house and move. She wasn't going to let me go that easy.
I set about the daunting task of 'white knuckling' my way off of the medications. This is completely insane, so don't try this at home kids, but my wife and I did the research on my medications. We determined what I needed to keep me functioning and what could go. At the time, I was on MASSIVE doses of Morphine, Oxycontin, Oxycodone, and many other pain medications a day. I counted thirty-seven pills a day, were going down my throat to keep me moving. I took myself off of everything except blood pressure medication (because when you are in a constant state of misery, your blood pressure stays high) and a heart medication. A medication required to regulate and lower my heart rate, because of the constant pain. I drank gallons and gallons of sports drinks, sweat my way through my favorite chair in the living room, ruined a queen sized blanket, and many changes of clothes. I found, as I went through these withdrawals, the smell of the opiates and Morphine excreting through my sweat glands created a pungent miasma around anything I touched. Everything had to be thrown out.
After several months of coming off of the pain medications, I learned I would need something for pain as my wife and I prepared our house for sale in favor of moving to Oregon for help. So, I had to drink. I drank (roughly) three gallons of 80 proof vodka a week, every week it took until our house was ready to list. I am a highly functional drunk, so I was able to put the work in. Just as long as I stayed plowed for the daily grind of home remodeling. Once we listed our house for sale, the second showing brought us a full price offer with no strings attached. The prospective buyers also granted us extra time for moving out before giving them possession of the property. Those folks were super nice and understanding. We went to close, I stopped drinking, and we moved across country.
My wife and I loaded up our 16-year-old West Highland White Terrier (Mr. Nickie) and drove from my in-laws house in Virginia to stay for a week before our drive to Portland, OR. We left from there. Our daughters decided to stay behind and do their own thing. My oldest has a son, I have yet to meet. He will be two years old, this April. But, we all understood we were chasing a slim chance to keep me alive. At times, I think they expected my wife to return alone, soon after we moved.
As of January 2017, I have passed the four-year terminal diagnosis projection. I have also come off of all of my medications, except for my blood pressure meds (for now) and I have not touched a drop of alcohol since we arrived in Oregon. Now, even my liver function and all blood count numbers are running normal, for the most part. I have even been ordered to cut my cholesterol dosage in half, on a daily basis. I still suffer tremendous pain 24/7, but I have access to healthier coping mechanisms where we are now. We will be here a year, in June. My doctor has taken me off the terminal list. I have lost over seventy pounds and I'm feeling great...except for the pain and loss of feeling in large swaths of my body! I can no longer feel my hands and legs, however, I continue to work with them to help with muscle memory and stability.
I still have the damage done by my disorder but I'm fighting it and staying strong. My wife found an outstanding job where her coworkers treat her wonderfully. And, recently, I have started to reconnect with friends through Facebook. I really missed my friends! Many of whom have expressed elation over my reaching out to them. Some, however, are not interested in hearing from me. Again, I assume it is because of the way I had to walk away. I don't blame them. Things are what they are.
A lengthy explanation for your question, to be sure, but my hiatus was more of a fight to stay alive rather than a simple break from social networking obligations.
Now, I hope to continue to write and move forward with my life. Continue to build and rebuild friendships with people on the social networking platforms as well as folks I meet during my daily life. I have been working on some short stories to warm up to writing full time, again. I will release some of that work exclusively to my friends online to see how I am received. Testing the pool, so to speak. If the reaction is warm, I will continue writing for the public eye. If not, I will still write for myself and just add to my collection in the trunk. I never expected to be a published writer in the first place. Any success I have had in the past, in my opinion, has simply been a happy accident. I don't look for lightning to strike twice with me. I woke up breathing today...so I'm content with that.
What was it like to reappear on social media following your healing process? How did friends react to seeing you again?
Coming back to social media, for me, has been a medicine I have taken with a heavy dose of trepidation. I have been quite careful to 'friend' actual people I know this time. In doing so, I have maintained a small group of folks instead of accumulating hundreds or even thousands, as done before. With regards to my return, I am staying with Facebook. I have not rejoined Twitter or some of the others of that format. I am familiar with Facebook and feel comfortable there.
My friends have been patient with me. I am not promising much in the way of future work. I want to put some fresh work on the market, however, there are those who are close to me who strongly insist that I don't. For health related issues, I am being heavily pushed to walk away from writing. Perhaps, I will write some short stories and just sacrifice them to the Internet Gods to stay in their good favor. Who knows? I have to approach everything from the perspective of my health now, as writing takes a lot out of me. My friends have been so supportive and welcoming. Some, however, have acted like they wouldn't piss down my throat if my guts were on fire. So, some are happy, others could care less. This is life.
How many editions of Hell Cometh have you published altogether since the first edition was released?
The last count of editions printed was four out of an estimated ten. I would really like to see someone pick it up and convert it to a graphic novel. I have had some requests to do artist renderings of the characters within the story. I am giving that serious consideration, because who else would know what the characters really look like aside from their actual creator? I might just give that a whirl and see what happens.
Do you have any ideas for short stories of late? Are you disappointed at not being able to write longer novels? Or rather do you feel lucky that you have survived so much?
I have many ideas which I feel would be best suited for the short story world. One of which is a story I am about to put on my Facebook account. I'm shooting for around fifteen pages, so I hope it works out. I have other novels I would love to write and get out there, based on the ones I have hand written and housed away in my trunk. I feel they may be better works if I work my writing into a smaller format. I believe, I can become more succinct, which ultimately may yield a more potent work.
I haven't yet resided myself to never write another novel, or two, or twelve. There are people close to me who don't want me to revisit my pain. They wish for me to move on and celebrate my life, as it has been given a new. Beating a terminal diagnosis is tough stuff, but I did it nonetheless. That said, I agree with not treading into dark places. Part of fighting for one's health is that you have to develop a greater sense of optimism. You need to cast out as many negative influences as possible because your life literally depends on it. That said, I need to do this. I have the stories. They are already there. They just need to be told or die with me. I have a whole new lease on life to explore. So, we will see at the end of the day what I end up doing.
I really do feel quite lucky for everything. I'm glad to be breathing. My blood work is looking better and better with each test and things just keep looking up. But, I would ask, what is the purpose of living if I can't do what I love while I'm here? Right now I am taking one day at a time. That is an improvement from one hour at a time. I've come a long way. And I want to continue to get better but living up to my potential is my best way to bounce back. Winning through success, again, is such a sweet victory. Why not do what I love, throw it out there, and see if anyone wants to pick it up. If not? Oh well . . . . All my windows and doors are open.
If you do decide to go ahead with a new novel, what do you think the storyline would be?
Any of my new books will have to go through a new publisher. I currently have a novel written. I, however, have no permission to sell it. I have been fighting to get control of that work for several years now. Unsuccessfully, but I continue to fight nonetheless. The title of that work is Cheating The Dead. It is another zombie novel, which takes place in Carmel, IN. I still retain permissions to write about that town but I want to use the story I already have.
I have another novel ready to go, which is a story involving my childhood. It is a retrospective piece which takes place in the early 80's. In addition, I have a trilogy written (hand written, in the trunk). All of which are horror titles. I will always stick with Horror as my genre of choice. That said, I will soon produce a non-fiction work. It represents some recent events in my life, which have been particularly challenging. However, I feel I can help people with this work. I plan on putting this piece out with the cooperation and collaboration of my personal physician. That is about all I have in the works for now. I also plan on amassing a large body of artwork to sell. I have earned a tremendous living as a professional artist for decades. I have also received many awards and accolades through my work. I want to continue to pursue art as well as writing for my immediate future. What comes as a result of these plans, is yet to be seen. I hope for the best but expect nothing.
Todd Card on Facebook
Posted by Dave Wolff at 7:20 AM 1 comment:
Interview with Roel of SOULEMISSION by Dave Wolff
Interview with Roel of SOULEMISSION
Soulemission draws influence from heavy and thrash metal to define their sound, besides the death and black metal of the nineties. What value do you see in drawing influence from the nineties as opposed to the 2000s and 2010s?
For me it feels that there were a lot of classic albums made in the nineties. Starting with some classic death metal from the beginning of the nineties and then later the black metal movement. After that you got bands like In Flames and Dissection who were mixing different styles, mainly combining death/black metal with heavy metal. To me that time period sounds really fresh and inspiring. It also has a lot to do with that we were still in our teens. The music we listened to still stays with us somehow. I guess that goes for a lot of people. So we didn't set out to be trendy or current, it's all about playing the music that we feel very strongly about.
What is the band name Soulemission intended to mean?
Michel (our singer) came up with that name. You can interpret it as the soul leaving the body when you die, what a lot of people believe. For me it also stands for how we write the music and what we put into it. It's just real dark and strong emotions (the soul) put into music.
Why do you think bands people listened to in their teenage years stay with them in their twenties and beyond?
When you are young you don't have a lot of responsibilities. You can dream about being a musician and making it because you are not molded into a role yet. When you are older there is a lot of daily shit you need to deal with. And then you look back on your teenage years and you think about your dreams and your first experiences, and that goes hand in hand with the music you enjoyed back then.
What death and black metal albums from the 1990s do you consider classics and why?
(Death metal) Morbid Angel – Altars Of Madness (from 1989): Because the songs are really well written and it just has this evil vibe. Entombed – Left Hand Path: Again really well written songs and it's sounds inspired and loose. Also the punk and thrash influences work really well. (Black metal) Emperor – In The Nightside Eclipse: Enchanting atmosphere and the songwriting was really ahead of it's time. It's amazing that Ihsahn could write those songs at such a young age. Dissection – Storm Of The Light's Bane: Amazing melodies, great dynamics and one of the few albums I never get bored with. Darkthrone – A Blaze In The Northern Sky: Revolutionary sound, great interplay between the drums and guitar and just really inspired.
Are there any thrash metal albums that you would say fall within the classic category, or was that before your time? Since many bands from the thrash era are still active, are you catching up on those bands so to speak?
I listened to a lot of thrash when I was young. Standout albums for me were/are Kreator – Coma Of Souls, Slayer – Seasons In The Abyss and Megadeth – Rust In Peace. I don't really follow what those bands are doing now. Basically because I still listen to a lot of the old stuff. To me the songwriting was better then and also the production. I have a hard time listening to the standard triggered and brickwalled productions from today's time.
How groundbreaking were the albums you cited were for their time?
I think they raised the bar for other bands very high. Especially someone like Ihsahn whose songwriting skills were mindblowing for such a young age. And people nowadays still listen a lot to those albums so that says enough. Those bands were exploring new territory and created something magical.
Do you feel the trend toward classic albums has continued through the 2000s and the 2010s? Or has the mainstream's acceptance of underground music caused it to wane?
Not really. But that is really personal, I think it has a lot to do with age. I have a hard time feeling the newer metal stuff. A band that to me made some classic albums after 2000 are Nevermore. I found their stuff really amazing. I don't really know what you mean by today's acceptance of underground music. From my perspective Metal was way bigger in the eighties to mid nineties.
By the mainstream's acceptance of underground music, I mean death and black metal bands are aired on MTV and VH1 and you can buy shirts at Hot Topic. What do you feel the newer material lacks?
I miss a certain surprise element and soul. But I think that there are a couple of factors that contributed to that. For one what we talked about, most productions nowadays. A lot of it sounds clinical and processed because the technologie makes it possible to deliver perfect products. And it takes a lot less time and money to record digitally. The focus nowadays is also more on touring then on creating a memorable album. Especially for bands that live of of their music and have a minimal income from that. They can't afford to spend three months on an album. And then there's also the fact that most metal styles have been done before, there is no real renewal.
How much do today's thrash albums lose when they are overproduced in the studio?
Depends on what kind of thrash you are playing. I think modern type of thrash with maybe some metalcore influences really goes wel with a modern sound. But if you play old school thrash and your influences are old Slayer and Possessed then that goes really well with that organic reverby 80's sound.
I remember when retro thrash started in the mid 90s with Gehennah and Inferno. What were your thoughts on it?
I think that was bands paying tribute to oldschool metal like Venom, Celtic Frost. I remember the album from Inferno, I think it was called Straight From Hell. It's great music for drinking and partying. Those bands weren't trying to be trendy but just played what they felt.
What do you think of metalcore influences being brought into modern thrash, besides emo and screamo influences?
It's not really my scene but if people go nuts about it then that's great. I think for many people listening to metalcore is a great way to release all their stress and anger. Better than that they go beat up somebody.
Do you see more or fewer bands pushing the envelope of extreme metal and making efforts to take it in new directions these days?
I would say fewer because I think the options are a bit running out. 25 years ago bands could push boundaries to become more brutal, faster and heavy but I think that pretty much has hit the ceiling some time ago. I have to say I'm not that familiar with what a lot of new extreme metal bands are doing so it's a bit hard to comment on that.
The band is from Holland, where fans have long attended the Dynamo club. Does this venue still host shows today? How many clubs are open in your area at this time?
This venue still hosts shows, only the old building was broken down and completely rebuilt. Recently even Trivium played there. But now it's just a normal venue. In the old days it had a certain atmosphere because it looked old and you could feel the metal history there. I was also a frequent visitor of the Dynamo Café. They had a re-start with the café after the new build but it was shut down after a while because the old group that hung out there didn't really like the interior; the atmoshpere was gone. There are still a lot of venues in Holland but the chances to play are becoming less and less. The demand for live music has stalled and kind of been taken over by the DJ's. But I think there are still four or five venues that hold live music in my area.
How much of the club's history remains though it was rebuilt? How many memories do you have?
Obviously the name is still the same, Inside you don't see a lot of the history of the old building. It's all new style. But these things happen, buildings get torn down and something new arises. It's all part of change. But luckily there are still metal shows being held. In Eindhoven there is also now annually a Dynamo Metalfest which goes back to the old Dynamo festival. It's just one day and a lot of classic metal bands play. I still have a lot of memories of the old club becaus I used to go there almost every weekend for a few years. You know, just getting drunk, headbanging.
How often have you attended Dynamo Metalfest and what bands have you gotten to see there?
The Dynamo metalfest is relatively young because it's only been held twice. I was there once and it was great. The Dynamo open air festival was from I think 1986 till beginning 2000. I went there many times in the nineties, it was really amazing because it was almost in my backyard and really cheap. I got to see a lot of great bands there like Type o Negative, Pantera, Metallica, Arch Enemy with their first singer, Testament, Exodus when they reunited with Paul Baloff, Death, Iron Maiden.
What venues are still hosting shows locally? For what reasons are there fewer opportunities to book shows these days?
I think a lot of it is based on nostalgia. People want to see the big old bands that still play and pay a lot of money for that. So they have to make choices.
Which aspects of thrash, death and black metal are incoporated into Soulemission's music and how are these made unique to the band?
Our influences are from the eighties/nineties. So that goes for the thrash, black, heavy and death metal from those times. The vocals from Michel are off course rooted in Blackmetal, so are the drums I think. But the guitars also incorporate influences from bands like Mercyful Fate, Forbidden, old Metallica, Maiden. A lot of the Scandinavian bands from the nineties had these influences so I would't say we are unique. We didn't start this band to be unique. We wanted to play music we feel strongly about.
How easily was the band able to combine their influences from the earlest practice sessions onward? Have you had the same lineup from the beginning or were there a few changes?
There haven't been any line-up changes. The line-up consist of Michel: Vocals, Benny: guitar and Myself (Roel): guitar. Live we use session players for drums and bass. Up untill now we only rehearsed with the full band two times. The way we write is just at home, that's also how it started from the beginning. We first write the songs and then we record them with a drum program. So the ability of being able to record at home has changed a lot for bands. The need to rehearse together has become less. I miss that sometimes but it's much easier to write songs at home with a computer at low volume and being able to get a decent demo right away.
How do you expect to keep Soulemission active in a time when bands have to tour and record digitally? Have you been recording digitally, paying attention to the quality of your music?
I ask myself that question every day. It seems harder to get recognized by audiences because there are lesser options to play live as an unknown band, and it seems that it has become a pissing contest on Facebook who can spam their band to the consumers the most. I must say that isn't our style. We like to promote our band through interviews and shows but it is getting harder. We recorded digitally but we kind of left it raw. So you can hear the occasional beeps and scratches but we like it that way. Benny (guitar player) recorded and mixed the album himself and really made an effort to get the maximum result with minimum means.
Does the band have their own studio to record in? If so, what are the advantages of this?
Benny has the gear to record an album but we don't have the space to record drums so we are relying on other studios but we don't necesseraly need an outside producer. The advantage is that we can work whenever we want. But we would really like to record in a big room and really get a natural organic sound. Hopefully someday.
What practicing and recording material have you gathered for your studio? How does having your own studo and working on your own schedule provide a comfortable atmosphere?
It's comfortable in a way that when you are not inspired you can just go home. There is no clock ticking. But it can also delay stuff because you don't have a real deadline. The writing of Tales Of Inevitable Death took a couple of years, working on and off. Although the recording was done in a few weeks, just to keep it fresh.
What accounts for the lengthy period of time it took to write the material on Tales Of Inevitable Death? How did recording the album in a few weeks help make the songs sound fresh?
It took long because there were periods when we didn't work on the songs because other stuff was going on in our lives. Benny also has a busy job as a soundman. Also when we were writing the songs we didn't know what was going to happen. We didn't have a record deal, we had never performed live so it was kind of trying out were this would lead. To me it sounds fresh because it has a rawness. You can hear the occassional scratch and beep from guitars and we just left it in there. But it's more a matter of that we really wanted to finish the album in a few weeks. Otherwise maybe the focus would be gone.
How was each song composed? Were parts for certain instruments written first?
It all starts with a few guitar pieces that seem to go well together. I record them on my Phone and once in a while I categorise everything on my computer. I then take it to Benny where we record it proper with a drum program. After that we kind of cut and paste to get a song that we think will work. After that the lyrics are made and Michel records the vocals.
How long does it usually take to cut and paste the guitar and drum sections together?
That doesn't take really long, but a while before we are satisfied. For the song Bellum Omnium Contra Omnes the only piece that survived from what I had originally is the intro. We deleted the rest of the song and came up with better riffs. That happens a lot. We always try to make it better.
Does Michel record his vocals digitally? What gear does he usually record and save his tracks with?
The recording was done digitally. Benny recorded it with Nuendo I think. The vocals were done using an old microphone, nothing special.
How is the album title Tales Of Inevitable Death meant to represent the songs appearing on it?
The title is a sentence from the song "Luciferian Blood Orders". We first had another title but it sounded too complicated. Then Michel suggested Tales of Inevitable Death as the album title. We all agreed instantly, which happens rarely haha. I can't really comment on the lyrics of the album because I didn't write them. But indeed they deal with death.
What was the full length's previous tentative title, and why did you find it too compilcated?
I believe it was something like "Culminating In The Vortex Of Souls". I have no idea what it meant but it was just too weird.
Where have you had to go to record drum parts? Are there studios close by or do you have to travel?
The drums were done by Menthor (Enthroned). Benny had contacts with him because Benny used to be the soundman for Enthroned. We were stoked that he was willing to record the drums for our album. He recorded the drums in his own studio in England. He just sent us the tracks through the internet.
How does Menthor's percussion enhance the material written by Soulemission? Does he have a good feel for your songs even if he is not presetn while they're being composed?
He wanted to lay down the drums if he could do it his own way. So we didn't really know what he was going to do. He had the songs with the drum computer tracks but he changed stuff here and there. That was really cool because he made the songs more aggressive. Some parts he even double tempoed. So that was a nice surprise. But I have to say it was scary not knowing how it would turn out. But sometimes you just have to trust a professional haha.
How did Menthor forward his drum parts to you once completed? Do you plan to work with him for future releases?
He just sent the tracks through the internet on a secured page. At the moment it's unknown who will record drums for the next album.
How did Soulemission hook up with Black Lion Records to release and distribute Tales Of Invevitable Death?
We sent our stuff to different labels but were kind of hitting a wall. There was some interest but it didn't materialize. Then I saw the band Hyperion on Facebook and liked what I heard. I saw the album was released to Black Lion and I decided to send them two songs. They got back to me within a couple of hours and were really interested in signing us so we decided to make the move.
Describe the recording deal Black Lion offered the band, how it sounded and why you decided to sign with them.
It's a one album deal and the agreement is fair for an unknown band. We negotiated a bit and Black Lion was willing to give ear to our wishes. We decided to sign with them because we saw what good work they did for the band Hyperion. Promotion is really important. The label is maybe not that well known but it's a great label to start on. Together we can expand.
How many labels did you contact before Black Lion Records? Were the labels you contacted mostly from Holland or did you contact labels in other countries? Did it take a long time to find a label with a similar target audience?
I think in the range of thirty. We made a list with labels we knew from all over the world. We contacted three Dutch labels. It took a while before there was some interest because we were/are an unknown band and labels don't want to take too many risk which I can understand. They need to be convinced that it's going to sell.
Was it a conscious decision to release the album on Halloween 2016, or was the release date coincidental?
The album was originally going to be released in September but there was some delay. It's just a coincidence it was released on Halloween. In Holland Halloween is not such a big event.
How much of an effort does Black Lion make to promote Tales Of Inevitable Death? How many listeners have contacted the band after hearing of you through the label?
If the band invests a lot of time in the band the label will also invest a lot. You have to work hard to show your label that you are worth it. We are all past mid thirty and have work, families and other stuff that needs to be done. So it's hard. To get somewhere you have to be busy with your band day and night because the competition is immense. For us that is not realistic. So I understand that Black Lion invests the most in the bands that take off. We haven't taken off yet and are thinking of ways to get there. The reactions we get on Facebook are really positive and also the reviews are really good so there is potential.
What bands are signed to Black Lion with you? Does the label put compilations together to help bands get publicity?
Hyperion, Vindland, Mist of Misery. So far Black Lion hasn't released compilation albums but they have different channels for marketing and promotion.
How many promotion and marketing channels does Black Lion have, and which of them has helped Soulemission?
The one that did a lot for us is Qabar Extreme Music PR. They work together with Black Lion Records. Another promotion activity is The Metalhead Box, where people can subscribe to and receive stuff from Black Lion and other labels.
Discuss some of the songs appearing on Tales Of Inevitable Death, what the lyrics are about and what inspired them.
The lyrics mainly deal with Death, Darkness, Misantrophy and Occultism. That kind of atmosphere fits the music really well. Almost all lyrics were written by Michel, I wrote one lyric to Endless Grief. That song is about a person with a rotten attitude who just goes through life complaining and terrorising people. Then when he dies nobody cares and he is forgotten. I describe the solitude of a grave no one visits. A bit inspired by people who are on edge all the time and feel the need to dominate everything but don't contribute to society.
What do you remember as the most positive and constructive reviews written about Tales Of Inevitable Death this far?
We got lots of 85 points haha. So that's a good thing. The most positive I read was that the music is well constructed and takes you on a journey. Lots of variation between the different songs and well produced. That's a great compliment since we didn't use a producer from outside. Some criticism I read was that we don't have our signature style yet. I can understand that but it was never the point to be super original. We just play the music we like to hear ourselves. For me the originality is that our riffs are well thought out, it's not directly copied from another band.
How do the songs on the new album come across when you play them live? Does your audience have any favorites?
Up untill now we have only done two shows. The first one we played with Carach Angren and the venue was packed. Nobody knew our songs because the album wasn't released then. There were a lot of young kids who really responded to our music so that was awesome.
In what ways do you plan to expand on what you composed for Tales Of Inevitable Death on the next full length? How soon do you think you'll start work on another album? What will your lyrics be about?
We will probably start to work on it in June. We've already got bits and pieces collected. From what I can tell you now is that there probably will be less blasts and more mid tempo parts. Also we want to change the sound a little. Probably get a bit more vintage vibe going on because I love a lot of stuff from the seventies and early eighties. What the lyrics will be about I don't know yet because I don't intend to write. Our singer Michel will write the lyrics.
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Can only remember it started with a storm in witch the passengers were saved in a life boat.
I think you are looking for one of the best stories on the site... perhaps the best universe. In The Navy by Argon.
Did it start off as a three-hour tour? Was there a skipper and one crewman? Did the passengers include a professor, a movie star, a farm girl, a millionaire and his wife?
Sir, the position of Court Jester has already been filled. We do not need another.
You gotta dress for the job you want, man. Not the job you have!
After you finish reading Argon's wonderful series, take a look at Colt45's Sea King stories.
I see Argon's Tales of Tanitsar as having been modelled on Colt45's Sea King set, maybe that means they should be read in the same order.
Mist World, as its name suggests, is a world covered by mist. The only land visible on Mist is the mountains and plateaus that rise out of the never ending gray sea.-- Come follow Jake Harrow as he flies the skies of Mist World harvesting sky eels, dances with pirates, encounters old enemies, runs into old friends and meets some new friends along the way.
Very nautical in a sailing navy type of way despite being airborne. If you enjoy Argon's and Colt45's stories this has a similar feel.
You might want to read Colt45 first. He hasn't posted since 2011 and last I heard he was facing some severe health issues. I'm not sure when he last logged in but wis works could go Premier at any time.


text:
Sawa, nazwisko świeckie Palmowski (zm. w 1797?) – duchowny prawosławny I Rzeczypospolitej, igumen, przełożony monasteru św. Mikołaja w Bielsku Podlaskim. Przewodniczący Najwyższego Konsystorza Kościoła prawosławnego w Rzeczypospolitej w latach 1791–1793. Główny autor niezrealizowanego z powodu rozbiorów Polski projektu reformy wewnętrznej Kościoła, w tym zerwania związków z Rosyjskim Kościołem Prawosławnym.

Życiorys

Młodość i wczesna działalność
Był synem kapłana prawosławnego ze Słucka, Tichona Palmowskiego. Według informacji podawanych przez biskupa Wiktora (Sadkowskiego) miał trzech braci, którzy również byli prawosławnymi duchownymi. Jeden z nich, Eustachy, podobnie jak Sawa ukończył Akademię Mohylańską i został następnie przełożonym monasteru Objawienia Pańskiego w Kijowie.

Uzyskana na tejże uczelni formacja intelektualna, w połączeniu z religijnym wychowaniem, jakie odebrał przyszły mnich, miała znaczący wpływ na jego dalsze poglądy i postępowanie. Po ukończeniu Akademii został przełożonym monasteru Trójcy Świętej w Poczepie; przed jego likwidacją w 1786 uzyskał godność igumena. Po zamknięciu klasztoru udał się do monasteru Objawienia Pańskiego w Kijowie, którym kierował jego brat. Z jego poparciem starał się uzyskać u odpowiednich organów cerkiewnych nominację na przełożonego jednego z klasztorów, gdzie stanowisko to wakowało. W 1787 spotkał się w Korsuniu z biskupem perejasławskim Wiktorem, od dwóch lat będącym faktycznym zwierzchnikiem struktur prawosławnych w Rzeczypospolitej, i zadeklarował gotowość wyjazdu do tego kraju, by tam pokierować jednym z działających jeszcze prawosławnych klasztorów. Z powodu choroby biskupa Wiktora wyjazd ten nastąpił dopiero po dwóch latach. W 1788 Sawa (Palmowski) otrzymał od metropolity nowogrodzko-siewierskiego Hilariona zgodę na przejście do służby duszpasterskiej w innej eparchii, zaś 1 marca 1789 został mianowany przełożonym monasteru św. Mikołaja w Bielsku.

Ihumen monasteru w Bielsku
Wiosną 1789 biskup perejasławski Wiktor został oskarżony o zainspirowanie, w porozumieniu z Rosją, chłopskich rozruchów na Wołyniu i Podolu. Następnie podobne oskarżenia zostały wysunięte pod adresem całego duchowieństwa prawosławnego w kraju, chociaż starosta słucki, działając na polecenie księcia Michała Hieronima Radziwiłła, ustalił, że biskup Wiktor nie napisał żadnego listu pasterskiego podburzającego przeciwko Rzeczypospolitej. Mimo to 21 kwietnia 1789 marszałek Kazimierz Nestor Sapieha na forum Sejmu oznajmił, że prawosławni kapłani inspirują prorosyjski i antypaństwowy bunt chłopski. Osiem dni później biskup został aresztowany i osadzony w Nieświeżu. Od podległego mu duchowieństwa zażądano złożenia przysięgi wierności Rzeczypospolitej. Większość kapłanów odmówiła ślubowania. Tak też dwukrotnie uczynił ihumen Sawa Palmowski, dopiero za trzecim razem, obawiając się konsekwencji prawnych dalszego oporu, złożył oczekiwaną przysięgę razem z czterema innymi mnichami monasteru w Bielsku.

Sprawą biskupa Wiktora zajmowała się specjalna komisja sejmowa, która 29 marca 1790, mimo braku rozstrzygających dowodów, oficjalnie zarzuciła hierarsze zdradę stanu. Komisja przedstawiła również dalej idące wnioski dotyczące sytuacji prawnej i kanonicznej prawosławnych mieszkańców Rzeczypospolitej. Aby uniknąć w przyszłości sytuacji, w której biskupi prawosławni działający w kraju mają swoich zwierzchników w Rosji, zalecono wydanie uniwersału do prawosławnych z poleceniem organizacji soboru. Zgromadzenie to miałoby opracować projekt nowego statutu wewnętrznego Kościoła prawosławnego w Polsce, gwarantującego mu autonomię. Biskupi prawosławni w Rzeczypospolitej mieli ponownie uznawać zwierzchność Patriarchatu Konstantynopolitańskiego. Sejm i król zaakceptowali wnioski komisji. 9 października 1790 marszałkowie sejmu Stanisław Małachowski i Kazimierz Sapieha polecili prawosławnym dokonanie elekcji swoich przedstawicieli do komisji, której prace miały poprzedzić sobór, a która miała od grudnia 1790 obradować w Warszawie. W tym samym czasie ihumen Sawa został imiennie zaproszony przez marszałków do wzięcia udziału w pracach wymienionej komisji. Najbardziej prawdopodobną przyczyną tak szczególnego potraktowania duchownego było przekonanie polskich elit politycznych o jego lojalności wobec Rzeczypospolitej. Sawa mógł udowodnić tę lojalność, gdy przebywał w Warszawie w czerwcu 1789. Nie został wówczas dopuszczony na widzenie z uwięzionym biskupem Wiktorem, prawdopodobnie jednak spotkał się z przedstawicielami władz państwowych. Ihumen Sawa przystąpił do opracowywania szczegółowych postulatów prawosławnych wobec rządu Rzeczypospolitej. Zorganizował w tym celu zjazd duchowieństwa, jaki miał miejsce jeszcze w tym samym roku w Słucku.

Sejmowa komisja przedstawiła 1 marca 1791 raport o stanie prawosławia w Polsce, oceniając jego sytuację jako bardzo trudną, wręcz tragiczną. Opierając się na efektach prac komisji, Sejm wydał 5 marca konstytucję dotyczącą "religii grecko-orientalnej", w szczególności uznającą konieczność ponownej organizacji hierarchii duchownej oraz utworzenia stałego organu zarządzającego Kościołem prawosławnym w Rzeczypospolitej. Równocześnie prawosławni członkowie komisji, z ihumenem Sawą na czele, zaapelowali do wszystkich swoich współwyznawców o obiór delegatów na kongregację, jaka miała zebrać się w Pińsku 15 maja 1791. Ostatecznie termin zgromadzenia został przesunięty o miesiąc. Sawa Palmowski został wybrany delegatem monasteru w Bielsku oraz miasta i gminy Opatów.

Udział w kongregacji pińskiej
Drugiego dnia obrad kongregacji pińskiej ihumen Sawa został wybrany do jej prezydium, jako jeden z jedenastu asesorów. 2 lipca został powołany do życia tymczasowy organ zarządzający Kościołem prawosławnym w Polsce – Najwyższy Konsystorz. Miał on zarządzać Kościołem do momentu reaktywowania hierarchii (przewidywano erygowanie czterech eparchii i wyświęcenie tyluż biskupów). Przewodniczącym Najwyższego Konsystorza został ihumen Sawa. Akt ten de facto powołał do życia autokefaliczny Kościół prawosławny w Rzeczypospolitej i odmówił Rosyjskiemu Kościołowi Prawosławnemu wszelkich praw do wpływania na struktury prawosławne w tymże państwie.

Przewodniczący Najwyższego Konsystorza
8 lipca 1791 Najwyższy Konsystorz na czele z ihumenem Sawą poinformował prawosławne duchowieństwo i świeckich o objęciu kontroli nad strukturami kościelnymi, zaś następnego dnia zobowiązał kapłanów do lojalności wobec Rzeczypospolitej i polecił im zrezygnować z korzystania z rosyjskich katechizmów. 9 grudnia konsystorz zwrócił się do przełożonych klasztorów, polecając im prowadzenie nauki religii dla wszystkich wiernych, otwieranie szkół parafialnych, systematyczne prowadzenie ksiąg metrykalnych i finansowe wspieranie najwyższego organu kościelnego. Konsystorz zachowywał lojalność wobec uwięzionego biskupa perejasławskiego Wiktora, który stale był wspominany w modlitwach. Za najlepszego kandydata na przyszłego zwierzchnika Kościoła w Rzeczypospolitej uważany był jednak ihumen Sawa. Siedzibą zwierzchnika Kościoła miał zostać Bielsk, a on sam miał otrzymać urząd metropolity.

Biskup perejasławski jednoznacznie negatywnie oceniał działalność Sawy Palmowskiego i kierowanego przezeń konsystorza. Przesłuchiwany przez komisję sejmową zarzucał ihumenowi nie tylko wykroczenia kanoniczne, ale i przestępstwa pospolite. Analogiczne stanowisko reprezentował Świątobliwy Synod Rządzący. Ostatecznie jednak pełna realizacja postanowień kongregacji pińskiej została uniemożliwiona przez II rozbiór Polski. Uwolniony w 1792 biskup Wiktor początkowo zażądał, by ihumen wrócił z Warszawy do Bielska. Sawa Palmowski kilkakrotnie odmawiał, co jeszcze zaostrzyło konflikt między duchownymi. 24 lutego 1793 biskup Wiktor nakazał Sawie opuszczenie zarządzanej przez niego eparchii i zwrot dokumentacji prac Najwyższego Konsystorza. Duchowny opuścił Bielsk jeszcze przed 14 marca 1793, gdy biskup Wiktor wyznaczył nowego przełożonego monasteru św. Mikołaja w Bielsku – Sofroniusza, dotąd ihumena monasteru Zaśnięcia Matki Bożej w Zabłudowie. Udał się do Warszawy.

W czasie powstania kościuszkowskiego
W momencie wybuchu insurekcji kościuszkowskiej ihumen nadal przebywał w Warszawie. Rząd powstańczy wyznaczył go na kapelana prawosławnych jeńców rosyjskich i przekazał mu jednorazową zapłatę w wysokości 6 tys. złotych. Po powołaniu przez Tadeusza Kościuszkę Rady Najwyższej Narodowej Sawa Palmowski został jednym z osiemnastu zastępców jej członków. Rząd powstańczy zgodził się również, by swoją działalność wznowił Najwyższy Konsystorz w dawnym składzie. Funkcjonował on do upadku insurekcji. Kościuszko osobiście wyraził także zgodę na organizację w Warszawie kaplicy prawosławnej, o co zabiegał ihumen. Sawa Palmowski uzyskał na organizację świątyni kwotę 4700 złotych z Wydziału Skarbowego Insurekcji.

Po klęsce powstania, gdy prawosławne struktury na ziemiach polskich zostały ostatecznie podporządkowane Rosyjskiemu Kościołowi Prawosławnemu, Najwyższy Konsystorz został zlikwidowany. Losy jego przewodniczącego nie są znane. Najprawdopodobniej został skierowany do jednego z rosyjskich klasztorów i odosobniony, co uniemożliwiło mu jakąkolwiek dalszą działalność. Według niektórych źródeł Sawa trafił ponownie do monasteru św. Mikołaja w Bielsku i zmarł w nim po 1797.

Uwagi

Przypisy

Duchowni prawosławni I Rzeczypospolitej
Urodzeni w XVIII wieku
Ihumeni monasterów prawosławnych w I Rzeczypospolitej

redpajama_set_name: RedPajamaWikipedia


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Caledonian igneous rocks of Britain and Ireland
G. C. Brown, E. H. Francis, P. Kennan and C. J. Stillman
Geological Society, London, Memoirs, 9, 1-15, 1 January 1985, https://doi.org/10.1144/GSL.MEM.1985.009.01.01
G. C. Brown
Department of Earth Sciences, Open UniversityWalton Hall, Milton Keynes, MK7 6AA
E. H. Francis
Department of Earth SciencesUniversity of Leeds
P. Kennan
Department of GeologyUniversity College, Dublin
C. J. Stillman
Department of GeologyTrinity College, Dublin
The British sector of the Caledonide-Appalachian fold belt, which bridges the Iapetus plate closure zone, has a range of plutonic, volcanic and volcaniclastic lithologies with characteristic space-time variations. The map of Caledonian igneous rocks in the British Isles (Plate 1) is compiled from many sources, some of which predate the use of methods of classification which are based largely on chemical data. In such cases, whilst extensive re-mapping continues, the compilers have had to resort to the collection and analysis of representative samples from the areas in question, the collection sites being based on existing maps. Thus, whilst the references to the mapped areas indicate specific publications, the chemical data on which the coding is based are commonly derived from compilations such as Stillman & Williams (1979) and Stillman & Francis (1979) for volcanic rocks and Sutherland & Pankhurst (1982), Le Bas (1982), Hall (1972) and Brown et al. (1981) for plutonic rocks.
The coding system, which is explained fully in the Plate 1 legend, is that accepted by the Plutonics-Volcanics International Working Group of IGCP Project 27 and is intended to provide a shorthand description by which the user of the map may ascertain as much information as possible about the igneous rocks of each locality, many of which cover too small an area on the 1:2 million scale of the map to be reconizable on any conventional system of colour and symbol designation. Given the small scale of Plate 1 the chemical symbols portrayed are a compromise in
© 1985 The Geological Society
Geological Society, London, Memoirs
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UK oil and gas fields: an overview
Chapter 1 Precambrian basins of India: stratigraphic and tectonic context
Chapter 1 Introduction to the geology of Myanmar
Chapter 1 Introduction to the Jurassic Arabian Intrashelf Basin
Chapter 13 Anatomy of the Andaman–Nicobar subduction system from seismic reflection data

redpajama_set_name: RedPajamaCommonCrawl


text:
The Causes of Ground Bounce and How To Avoid It
Figure 1: This cross section of a 100-MHz microstrip
transmission line shows us how a return path should look
We've been discussing the topic of ground bounce on digital I/O lines as well as an effective way to diagnose and analyze it. We've also run through a detailed example of how to measure it using a quiet-low I/O driver as a sense line. Now, let's take a step back and examine the root causes of ground bounce, and also discuss some best design practices for avoiding it altogether.
Why is ground bounce such an insidious problem? For one thing, it's hard to pin down without using a "trick" like sense lines. It scales with shorter rise times and larger Δi/Δt. It scales with more simultaneous I/O switching. The larger the discontinuity in the return path, the larger that impedance, and the larger the ground-bounce voltage. It's a major problem with asynchronous buses.
Ground bounce is caused by two fundamental elements. First, the return path is poorly designed. Instead of a wide, continuous plane, we've managed to design a highly restrictive return path. Figure 1 is an example of the cross section of a 100-MHz microstrip transmission line, with the colors showing where current is flowing. Blue means no current; others mean more current flow. The cross section shows the return current for this signal line flowing in the return path underneath the conductor. Most of that current flows directly below the conductor, but it spreads out a bit on either side. You can eliminate all of the return-path conductor to the far right and left (solid blue) and not affect the return path. It's when you encroach into this region where there's return current that you affect the signal and affect the return path.
If your return-path conductor distorts the return current so that it's narrower than the green-tinged region in Figure 1, maybe because the return path is a package lead or a connector trace, or if you design that return path for any reason to narrow it in that way, you will have increased the discontinuity in that return path and increased its inductance. That's the first ingredient in the ground-bounce recipe.
The second ingredient that makes ground bounce happen is if you also have more than one signal sharing that return path. It's the voltage noise created by one signal in that higher-inductance return path that another signal will see if it's sharing it. The combination of a badly-designed return path that has higher inductance than it should and more than one signal sharing it guarantees that we will have ground bounce.
Equation 1: Shown is the "golden
relationship that determines how
much ground bounce will happen
in a return path
Various types of interconnect structures are subject to ground-bounce issues. Most connectors, packages, ribbon cables, SIPs, and vias are candidates for problems. What are some best practices to reduce the chances of ground bounce?
If we know what causes ground bounce—common lead inductance, shared return paths, and Δi/Δt in those shared return paths—we can calculate how much of it we expect to see and what parameters in our design are influencing it.
The "golden relationship" shown in Equation 1 tells us everything we need to know about ground bounce. It says that the voltage noise we will see on that common lead inductance of the return path comprises the total inductance of that return path as dictated by its geometry, the number of simultaneously switching I/Os that share that path, and the Δi/Δt seen by each of those I/Os. If we want to reduce the ground bounce voltage, these are the design knobs we have to turn to make that happen.
We want to make the total inductance smaller and reduce the number of I/O lines sharing a return path. In addition, we want to make the Δi that switches smaller and to make the "t" in the Δt larger.
Ltotal: Design short and wide return conductors, keep signals close to return paths, and use planes with thin dielectrics for power/ground paths
n: Simple: Don't share return paths!
Δireturn current: Stagger I/O switching, use source series termination resistors, use more return paths, and use differential signals
Δt: Always use the longest rise time that will keep you within your timing budget, and use slew-rate control.
Even if you use differential signaling, you still want to reduce mode conversion as much as possible. Mode conversion will create common current that will drive some ground bounce. When it comes to Δt, a longer rise time is rarely an option, but always look into it as a possibility.
This concludes our series of posts on ground bounce. Hopefully, it's helpful to you in your quest for ever-improving signal integrity.
About Ground Bounce and How to Measure It
More on Quiet-Low I/O Drivers and Ground Bounce
A Walk-Through of Ground-Bounce Measurements
Labels: digital input-output, ground bounce, impedance, interconnects, return current, return path, sense lines, simultaneous switching


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You are here: Home > Croatia > Current Article
Auguste Rodin's masterpieces in Zagreb
By Marija Avramovic / 06/05/2015 / Comments Off on Auguste Rodin's masterpieces in Zagreb
Zagreb, May 6, 2015/ Independent Balkan News Agency
By Marija Avramovic
The masterpieces of the famous French sculptor Auguste Rodin, which were presented on Tuesday night at the opening of the exhibition "Rodin in Mestrovic's Zagreb", are the most representative beginning of a large five-month cultural event in Croatia-the Festival "Rendez-vous".
This is an exhibition where the famous sculptor Auguste Rodin (1840-1917), will be presented with around seventy of his works, among which will be some of the most famous, like the masterpieces "The Thinker", "The Kiss", "Gates of Hell" and "Bronze Age".
With this Festival, France will be presented in the next five months with more than 150 events in 22 cities which will be bridges of cooperation between the two nations, the French and Croats.
The exhibition at the Zagreb's Art Pavilion was opened by the President of the Republic, Kolinda Grabar-Kitarovic, who pointed out that the exhibition of the famous Rodin "was a worthy event for the opening ceremony of the French Culture in Croatia-'Rendez-vous', which is an important interweaving of artistic and cultural works".
With this presentation France returns the visit, after a successful initial presentation of the Croatian culture and arts in France in 2012 and 2013, with the manifestation "Croatie, la voici".
Apart from Zagreb, Rodin's work will be exhibited in Split, where on May 8 in the Mestrovic Gallery will be opened smaller but also significant exhibition "Rodin's Meditation in Split", when the sculptor's work "Meditation-The inner voice" will be presented.
The exhibition "Rodin in Mestrovic's Zagreb" is open for viewing until September 20.
By: Marija Avramovic
Last Modified: May 6, 2015 @ 4:50 pm
Filed Under: Croatia, Culture, HR Culture
Minister of Tourism promotes Croatia in Iran
Kosovo presents its cultural values in the Venice Biennale
Marija Avramovic
View all articles by Marija Avramovic »
Davos 2020: Climate skeptic Trump to open climate-focused WEF 21/01/2020 09:45


text:
in: Legends articles, Cleanup, Incomplete lists, Galactic Republic soldiers
Republic soldier
This article is about the basic soldier of the Republic before the New Sith Wars. You may be looking for other uses of the term.
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Soldier[1]
25,053 BBY
Date dissolved
1000 BBY
Galactic Republic[1]
Republic Military[1]
Republic soldiers were enlisted in the Republic Army from 25,053 BBY until its dissolution in 1000 BBY. The Republic soldiers were the troops directly under Galactic Republic control, although in times of war it seems they were reinforced by levies from Republic planets. Most of the soldiers in the Army appeared to be Human males. Trask Ulgo and Carth Onasi were Republic soldiers stationed on the Republic Hammerhead-class cruiser Endar Spire. Republic soldier ranks included captain, commander, and ensign.
2 Arms and Equipment
The armies of the Republic were also made up of the local militias as well as the sector forces who reported to their generals rather then the central command authority such as the Defense Ministry. Darth Revan, before he fell to the Dark side of the Force, was the first field marshal who commanded all the separate units in order for the Republic to better coordinate their defense against the Mandalorian Neo-Crusaders. However, the nature of the conflict meant that they often spent more time as guards on their capital ships than as troopers on the ground.
Arms and Equipment[]
Republic soldiers wore red and yellow armor and what appeared to be a black bodysuit underneath. Combat suits and Republic mod armor were available to Republic troops as well. Republic soldiers were issued blaster rifles, blaster carbines, blaster pistols, disruptor rifles, and heavy repeating blasters. Vibroswords were used for close-quarters combat due to an increase of close-quarter enemies such as the Sith during the time of the Old Sith Wars. Several types of explosives, such as grenades and mines, were also issued to troops for combat and demolition purposes.
The Champions of the Force set of the Star Wars Miniatures game features a miniature that is modeled after the Republic soldier. The miniature is called the "Old Republic Trooper" and its rarity is "Common." In the Knights of the Old Republic set, another miniature, named "Old Republic Guard," is modeled after the Republic soldier. A miniature called "Old Republic Captain" from the same set wears the armor of a common soldier but has an in-game commander effect.
This in-universe list is incomplete. You can help Wookieepedia by expanding it.
The Betrayal of Darth Revan
Star Wars: Knights of the Old Republic (First appearance)
The Old Republic: Revan (Mentioned only)
The Old Republic: Revan audiobook (Mentioned only)
Star Wars: Knights of the Old Republic II: The Sith Lords
Timeline 5: The Battle of Bothawui on The Old Republic's official website (article) (backup link) (Appears in hologram)
Timeline 8: The Jedi Civil War on The Old Republic's official website (article) (backup link) (Appears in hologram)
Timeline 9: The Mandalorian Wars on The Old Republic's official website (article) (backup link) (Appears in hologram)
Timeline 10: The Exar Kun War on The Old Republic's official website (article) (backup link) (Appears in hologram)
The Old Republic: Fatal Alliance
The Old Republic: Fatal Alliance audiobook
Star Wars: The Old Republic: Rise of the Hutt Cartel
Darth Bane: Path of Destruction
Darth Bane: Path of Destruction audiobook
Gundark's Fantastic Technology: Personal Gear (As "Old Republic troops")
Knights of the Old Republic II: The Sith Lords: Prima Official Game Guide
"Knights of the Old Republic Miniatures Preview 4" on Wizards.com (original article link, content now obsolete; backup link)
Star Wars: The Essential Guide to Warfare Author's Cut, Part 4: The Rise of the Republic on StarWars.com (article) (backup link) (As "Republic Guardsman")
↑ 1.0 1.1 1.2 'Knights of the Old Republic
Incomplete lists
Galactic Republic soldiers


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