Category:Casino Glienicke - Wikimedia Commons

Hope everyone is enjoying their summer. Here today to post about the Bridgeport Casino - not a ton of photos, so bear with me.
Waterloo and Berlin were thought to be prudish around the early/mid 1900s, and Bridgeport thought to be a little wild. So if you wanted to do some drinking and have fun, you'd head to Bridgeport.
If you read my last post, you'll know you could take the Berlin and Bridgeport Electric Railway into Bridgeport. Who was an owner of the railway other than Mr. W. Breithaupt, who not only wanted to see the success of the railway, but wanted to bring people into Bridgeport. That's how Riverside Park and the Bridgeport Casino were conceived.
The "casino" pavilion was built around 1903 and looked like this. As it grew, it boasted entertainment features like a bowling alley, shooting gallery, picnic space, rollerskating, etc. It was not a casino in the gambling sense, although that probably happened secretly, too. It was primarily a dance hall with polished wood floors so shiny you could slide from one end to the other. A 40 foot stairway led people down to a cable-operated ferry, for more fun like fishing and swimming aside the Grand. This article has some additional description and photos.
Other fun stuff to take place: a rope-walker who crossed the Grand in the dark on a lit rope; rifle shooting competitions; replays of the Kentucky Derby...
Back to that gambling bit - in 1962, several people were brought to trial over running a gaming house at the casino, secretly providing alcohol, strippers and gambling to rented parties.
In the 40s, streetcar service to Bridgeport ended and although the casino and park were not sold, the name sort of died. It was owned by several different people over those years, but kept the use of a hall for dances and weddings with the exception of being a slipper manufacturer in the 30s. Interesting change.
That lasted until the mid-70s, when it was bought up by a dishwasher who turned it into... Golf's Steak House! The place that takes you back in time, with an exceptional view of the Grand to boot. That may help to visualize the casino. Pretend you're at a raucous 1915 dance party next time you cut into your steak :)

The way this works is that you post a review of the best film you watched this week. It can be any new or old release that you want to talk about.
{REMINDER: The Threads Are Posted On Sunday Mornings. If Not Pinned, They Will Still Be Available in the Sub.}
Here are some rules:
1. Check to see if your favorite film of last week has been posted already.
2. Please post your favorite film of last week.
3. Explain why you enjoyed your film.
4. ALWAYS use SPOILER TAGS: [Instructions]
5. Best Submissions can display their [Letterboxd Accts] the following week.
Last Week's Best Submissions:

Film	Use[LB/Web*]	Film	Use[LB/Web*]
"One Night in Miami"	[Max_Delgado]	"Casino"	Person884
"Promising Young Woman"	[Cervantes3]	“After Hours”	[Cinephile472002]
“The Night is Short, Walk on Girl"	[KeepYourIman]	"Starman"	rutfilthygers
“When Marnie Was There"	[HardcoreHenkie]	"Project A”	Mihairokov
"The Curious Case of Benjamin Button"	[LordDemaxus]	"An American Werewolf in London”	[ManaPop.com*]
"Master & Commander..."	[RStorm]	"Pickpocket"	cosmiciinsanity
“Lost in Translation"	[CameronCraig88*]	"The Great Dictator”	Sule02
“Moulin Rouge!"	Nadewany	"Sherlock Jr."	[Trent Brooks]

The last drama post I did about Kuma Miko seemed to have gotten some praise, but some wished to see a Hobby Drama post that had consequences outside “people got angry over it”. So without any further delay, here’s a story about a studio that’s close to my heart, one that I’ve backed twice and seen die twice.
Note: This is a fairly lengthy drama, so forgive me if I’m not able to provide all of my sources. Most of the front half of this comes from this video, which chronicles the first half of Lab Zero entirely in Russian.
From Ahad to Mike Z
Let’s start in the beginning. Alex Ahad is a freelance illustrator who, in between other work, had created character designs for a prospective fighting game. Mike Zaimont is a professional fighting game player best known for games like BlazBlue and Marvel Vs. Capcom, but since 1999 had been coding a custom engine in his free time, which he hoped could be used for a fighting game. The two met in 2008, and the two quickly realized that with each other’s help, their dream could come true. In 2010, the two joined the newly developed game studio Reverge Labs. Joining their team was Mariel “Kinuko” Cartwright, a friend of Ahad’s and daughter of a Disney animator who helped animate games such as Scott Pilgrim vs. The World and Shantae; Peter Bartholow, who acted as CEO of Reverge as well as their PR arm; and an assortment of other animators and designers. Their goal: a fighting game in the style of Marvel vs. Capcom 2 with hand-drawn animation that they called Skullgirls.
After obtaining publishers in Autumn Games and Konami (at the time of development the Microsoft required indie devs to have a retail publisher in order to bring their games to Xbox Live Arcade), the team got to work on Skullgirls. Initial impressions were favorful - people liked Ahad’s unique character designs, the fluid animation, and the solid engine Mike Z built - but upon release, there were some concerns. The time and money needed to develop each character meant a starting roster of only eight characters, a far cry from other fighting games (the original MvC had 15 characters in 1998), and due to the team trying to get the game out, there was no in-game move list. Some were also concerned that the cast, consisting entirely of women, was too fanservice-filled, although Bartholow said that the characters were just attractive women who could fight as opposed to characters using their sexuality in battle (Ahad said that sex wasn’t his main focus, he just wanted to have monster girls fight each other). The team at Reverge Labs stressed that they would continue to update the game, with plans to add DLC if the game sold well enough. Good thing nothing could go wro-
Everything goes wrong
Alongside publishing Skullgirls, Autumn Games and Konami had previously published a karaoke game called Def Jam RapStar. Unfortunately, around March 2012, the time Skullgirls released, both parties were at the end of several lawsuits made against them - one argued that Autumn and Konami did not get the rights to some of the songs used in the game, while another claimed that the game was funded with a bank loan which Autumn Games was unable to pay back. The result of these costly lawsuits was that Autumn was unable to pay Reverge the money made from Skullgirls - this led to the entire Reverge team being laid off around July, and the future of the game in the air.
And so, the team decided on a whim to reconvene as a new development studio, Lab Zero Games. At a fundraiser for breast cancer research which included a fighting game tournament, Mike Z revealed the first DLC fighter and promised that new information about her and the team would be posted soon. This would turn out to be an Indiegogo fundraising campaign that asked for $150,000 to develop the first DLC fighter, with more characters promised if people backed enough.
In the end, $829,829 was raised in the campaign, enough to fund five DLC characters, a bevy of stages and voice packs, and other features. It was quickly becoming a cult classic.
The Skullgirls Curse
And so work on Skullgirls DLC was underway. However, a variety of events happened to befall Lab Zero during development, some causing controversy and others just annoying the team. Some dubbed this “The Skullgirls Curse”. So let’s go over some of them:

• Paypal Woes: During the Indiegogo DLC campaign, Lab Zero announced that Ahad had created around 30 prospective designs for DLC characters, and that there would be a vote to see which characters would be the two “mystery characters” teased in the Indiegogo campaign. As you would guess, this caused the Skullgirls fanbase to get heated, to the point where some stressed that they would ask Indiegogo for their money back if their character didn’t win. PayPal, who managed the funds for this campaign, was concerned about these threats and put nearly all of the money on hold. Bartholow tried to negotiate with PayPal, and was eventually able to get the funding - once PayPal was given a hefty sum as collateral.
• Bad Juju - If you notice on the list of prospective DLC characters, one character is Juju, a character who was designed by Ahad from a fan’s suggestion on a Whiteboard Wednesday art stream. Ahad seemed to like the idea of the character, and kept building her up until she became a legit character in the game. The original fan made a joke on Facebook that he’d like to be compensated for the design, which led Lab Zero to negotiate obtaining the character rights from him. They eventually worked out a contract that would give them the rights to the character, but only if the original fan didn’t reveal it until Lab Zero announced it themselves. The fan then posted about it on the Skullgirls forum the very next day, breaking the NDA immediately and making it so that Lab Zero couldn’t use the character at all.
• Don’t be (Red) Cross with me: One of the characters included in the base game of Skullgirls is Valentine. As you can tell, the two biggest features of her character are her being a nurse and a ninja - as such, her costume is decorated with red crosses. This was upsetting to the real Red Cross, which fights hard to prevent its trademark from being associated with violence - as such, when they came to the Skullgirls publisher demanding a change, all red crosses in the game had to be changed to magenta.
• #FucKonami: In November 2013, due to Konami barely helping at all with the publishing process for Skullgirls (they refused to greenlight any patch or DLC until Lab Zero tested it itself on their own time and money, they didn’t help with Microsoft’s certification process for Xbox, etc), Lab Zero dissolved their publishing agreement. This led to a massive snafu where, due to the dissolution, the original Skullgirls was taken down on consoles, and Lab Zero had to scramble to get a new publisher on the consoles side and then reupload the game as Skullgirls: Encore. It was a tangled web of issues which the above YouTube video relays, but required certification from both console storefronts and even the Japan storefront, as their publisher there was also coincidentally being dissolved at the same time without Lab Zero knowing.
• EVO 2014: During one of the largest fighting game tournaments of 2014, Skullgirls was promised a space for airing their tournament stream by controller distributor Madcatz. Lab Zero and Autumn provided a pot for the tourney, and everything was smooth sailing - until a multitude of delays made it so that the entire time Skullgirls had for streaming was replaced with Tekken tournaments. By the time these issues were fixed, only the final four matches were able to be shown.
• What’s the worst kind of ship? Censor-SHIP!: In April 2015, one of the patches of Skullgirls altered the animation of some characters, which according to Lab Zero themselves was because of their own artistic values (while they admitted that panty shots in a fighting game comprised entirely of girls is unavoidable, they didn’t want to go out of their way to show them). As you might expect, this led to a massive onslaught of negative Steam reviews and caustic tweets from people who abhor censorship of any kind. Funnily enough, this brigade started around October, six months after the changes were made, and only via word of mouth - people didn’t even notice there was a change until someone told them about it.
• Backer characters: As part of their Indiegogo campaign, some of the highest-paying backers could have their original characters put in the background of some custom stages. Lab Zero warned these backers that these stages would be a casino and a ballroom, respectively, so their OCs should ideally be designed with a formal flair. Some backers did follow this unspoken rule - ZONE, a notoriously NSFW Flash animator who helped work on the DLC characters, made a perfectly formal look for his mascot Zone-tan. As for the others, well...
• SonicFox: This isn’t included in the compilation video mentioned above as this occurred way after all the initial Skullgirls drama. Basically, SonicFox is a five-time EVO champion and one of the best Skullgirls players in the world. In May 2020, after Skullgirls was mostly complete, they were given a cameo in Skullgirls’ training stage. Of note is that SonicFox is black, non-binary, and a furry, and the character added to the game was their fursona, who has a trans rights flag in the inside of their jacket you can only see for like one frame. People reacted as you would expect. Also, one of the original backers requested to change their character as they were now transitioning, which didn’t get as much flak, so that’s nice I guess.

So as you can see, Skullgirls had a menagerie of problems and issues during its dev time. However, their Skullgirls curse seemed to have faded away, as they had a new game in store.
If I was Indivisible
Indivisible was a new project of Lab Zero, announced in 2015 as Skullgirls DLC production was nearing an end. Billed as a platformer RPG similar to games like Valkyrie Profile, it would tell the story of Ajna, a young girl whose town is stricken by tragedy and she finds out that she’s a portion of the god of creation, who has grown discontent with the world and wishes to remake it anew. Its Indiegogo campaign focused on Incarnations, party members who came from a variety of cultures, religions, and demographics not usually represented in popular culture. And as you can see by the fact that it got over two million dollars in funding, people were excited to see what Lab Zero could do. They even got enough funding to get Studio Trigger, of anime fame, to create the opening for the game.
Of course, it wouldn’t be Lab Zero without the occasional issue here and there. As shown above, some Incarnations were changed or scrapped during development, which irked some who backed because of that character specifically (not naming any names, but look in the incarnation list and see if you notice any). Backer characters were included again, and although there were more places to add them so they didn’t look out of place, you still had the occasional few that did. Critics liked the art and presentation of the game, but disliked some gameplay issues: the second half of the game became a cakewalk once you progressed far enough, it was a bit of a pain to go from one end of the map to another, especially for side quests, and a bunch of party members simply weren’t complete. Most egregiously of all, the Nintendo Switch version of the game was ported by a different company and released before Lab Zero was even aware of it - which forced them to scramble again to patch it up so it was on par with other consoles.
Still, it was a better situation they were in than when Skullgirls started. They had a legit publisher in 505 Games, people were satisfied with the base game, and Mike Z mentioned how the base game would continue to be refined with gameplay changes, small additions, and guest incarnations from other indie games. NBC even announced that Indivisible would be adapted into a television program for their Peacock streaming service. Things were looking up for Lab Zero.
Everything goes wrong... AGAIN
During the production of Indivisible, Alex Ahad was let go by Lab Zero. Not much is mentioned about it except that he was growing increasingly hostile, making it difficult to work with him, and his art was not meeting the standards for the game. He left, tried to sue Lab Zero, and eventually agreed to a sizable settlement. Mariel became the lead artistic director in his stead, and the art team had to be rearranged to compensate.
Now, as Lab Zero was preparing to transition from being employee-owned, Mike Z was made the temporary head of the studio. In June of 2020, Mike Z did an “I can’t breathe” joke during a Skullgirls livestream just days after George Floyd’s death - he later apologized for this, claiming he was trying to bring attention to the issue. Soon, more people provided proof that Mike Z has had a history of sexual harassment. Kinuko chimes in as well, noting that while she tolerated inappropriate behavior for years, when she talked to Mike Z about it, he blamed her for his actions. She talked with others in the team, who came to the conclusion that Zaimont had treated all of them like this. Some Lab Zero employees resigned on their own, while others pushed for Zaimont to resign. However, as Mike was still head of the studio, he dissolved the studio board and laid off the rest of the staff.
So where does that leave everyone?

• Ahad is still doing art on his own, and gets by with commissions and his Patreon.
• Kinuko, as well as the majority of Lab Zero, created a new studio called Future Club, which has promised to create new titles with the same art style they refined from Skullgirls and Indivisible.
• Autumn Games still own the rights to Skullgirls, and with the help of some former Lab Zero devs, created a mobile version of the game. It’s surprisingly not bad, although it’s of course stuffed with microtransactions. However, they’ve apparently made enough to fund a completely new character for the game for both the mobile and console/PC versions.
• After everything with Mike Z, 505 games put out a statement which signaled the end of all development of the game, leaving it unfinished. Mike Z has been suspended from Skullgirls streams and the like, making his future in the gaming world unclear.

There’s probably something I’ve missed in all of this, but yep. I backed them twice, both for Skullgirls and Indivisible. I don’t regret it, and I’m looking forward to whatever Future Club does, but I won’t lie - I’ll always miss what could have been.

Artist: Run The Jewels
Album: RTJ4
Date Released: June 3rd, 2020
Listen
YouTube
Spotify
Tidal
Apple Music
Artist Background
The duo consisting of Atlanta rapper Killer Mike, and legendary underground produceMC El-P, known together as Run The Jewels, originally came together as a result of Adult Swim executive Jason DeMarco who introduced the two in 2011. After his 2011 album PL3DGE peaked at #115 on the US charts, Killer Mike told Jason that he wanted to make his own AmeriKKKa’s Most Wanted. Jason informed Mike, “If you want AmeriKKKa’s Most Wanted modernized, the only producer I know who comes close to the Bomb Squad-level of production is El-P”. The duo’s chemistry was immediate, as El-P went on to produce all of Killer Mike’s 2012 last solo album R.A.P. Music, and Mike featured on El-P’s final solo album Cancer 4 Cure. Mike and El’s respective albums released within a week of each other in May 2012, and the two embarked on a twenty-city US tour in the following months. After returning from tour, the pair had found a friendship growing between themselves, and made the decision to put other projects on hold and focus on the chemistry that had been sparked. Recording at an upstate NY studio beginning in April 2013, the duo re-appropriated the phrase “Run The Jewels” from the LL Cool J track “Cheesy Rat Blues", and released their self-titled collaborative album, for free via digital download, only a mere 2 months later in June 2013.
36” Chain vs. Pistol & Fist
Run The Jewels discography currently exists in a distinct pairing. With Run The Jewels as their debut, this record set the group's tone as a light-hearted, braggadocious duo with as much confidence in their abilities as swag in their punchlines. Just over a year later, the sequel Run The Jewels 2 took the foundation set from their freshman effort and dialed the insanity up to 11. RTJ2 pushed the boundaries of their aggression and flows to new heights; with incredible energy in their verses, and absolutely impeccable beats, blending El-P’s signature industrial sound with sharp synth arpeggios, chopped Zach De La Rocha vocals, and absolutely bonkers Travis Barker drums.
It was then nearly 3 years before Jamie and Mike followed up their breakout RTJ2, with Run The Jewels 3 being released again ahead of its scheduled release date via free digital download, this time on Christmas Eve 2016. Instead of these two attempting to outdo the pure insanity and in-your-face attitude found in their predecessor, Mike and El decide to evolve themselves as a group. The duo had noticeably pulled back on the swag and dick jokes which made such a splash on RTJ2, instead choosing a more subdued, electronic approach to their beats, as well as a clearly stronger political approach in their lyrics. This change in sound and style is demonstrated in the album cover’s artwork. The first two records featured the distinctive RTJ “Pistol and Fist”, with the fist tightly gripping a chain. The chain, in my opinion, represents the swag and braggadocio that drove the aggressive nature of their first two albums. In RTJ3 the chain is removed, leaving only hands that have transformed from bleeding and bandaged, to a pristine gold.
This brings us to early 2020. It’s been nearly 4 years of living in a post-Trump America, and El-P announces that Run The Jewels fourth record has been completed. Mike and El live-stream the first single “yankee and the brave” on Instagram on March 22nd, 2020. Lyrically and sonically, RTJ4 exists as the successor to Run The Jewels 3, with Mike and El again taking the good from their previous effort and launching it into the creative stratosphere. El-P’s beats are again leaning towards the synthetic, electronic side, this time with the intensity dialed all the way up to 11. From a lyrical perspective, RTJ takes the politically-charged lyrics from their predecessor, and again, up the ante, laying down some of the hardest hitting and politically poignant bars either of these two have ever spit.
Album Review
2020 was a year that none of us will soon forget. An unprecedented global health crisis kept the majority of us inside for months at a time. RTJ4 was announced on May 12th, 2020, with a release date slated for June 5th, 2020. However, with 2020 as the gift that won’t stop giving, the end of May was highlighted by the unjust killing of George Floyd. The phrase heard around the world, “I can’t breathe” instantly became a rally-cry for the oppressed to finally take to the streets to demand systemic police reform, as Floyd’s death was not the first time this phrase was uttered in an unjust police killing. In fact, a 2020 study by the New York Times showed that at least 70 people have died in police custody after using the same phrase over the past decade. As millions of American’s began organizing protests and demonstrations in the wake of Floyd’s death, Run The Jewels made the decision to release their latest chapter two days ahead of the scheduled release. El-P tweeted, just minutes ahead of the drop, “Fuck it, why wait. The world is infested with bullshit, so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love”. In line with all past Run The Jewels releases, the album was made available for free digital download, two days ahead of its scheduled release date, on June 3rd, 2020.
THE RETURN (we don’t mean no harm but we truly mean all the disrespect)
RTJ4 opens with the first single, “yankee and the brave (ep. 4)”. Using the team names from their respective hometown baseball teams, Mike and El use the opening track to prove that they’re not just a hip-hop duo, they’re brothers, for better or worse. El-P kicks this installment off with rapid-fire, machine-gun esque snares, matching Killer Mike’s aggressive flow and tightly packed rhymes, before El jumps in to trade some dense rhymes as well. Mike and El depict themselves as outlaws, with Mike surrounded by cops with only one bullet remaining. He contemplates suicide instead of allowing the police to take him alive, until El-P jumps back in, offering Mike a way out, with a getaway car waiting outside. This tense situation is depicted lightheartedly in this song’s music video, which was released via Adult Swim and features the duo animated.
The trade-off between Mike and El’s short verses are reminiscent of late-80’s EPMD flows, while the production sounds like boom-bap that’s been sent to us from the future. This distinctive blend of old-school rap roots and forward thinking production is what continues to separate Run The Jewels from absolutely all of their contemporaries. While so many artists are continually playing catch-up with the latest trends, RTJ are side-stepping the trendy and moving forward with the mind-bending.
FLEXIN’ (ayo one for mayhem, two for mischief)
The second single “ooh la la” samples a Gang Star track "DWYCK (feat. Nice & Smooth)" as the basis for the chorus. I say “samples” as that’s how it is credited in the album’s liner notes, however it’s truly an interpolation of Greg Nice’s bar, slowed down slightly, and sung by El-P and Greg Nice himself. El-P is a true old-head at heart, and it’s abundantly obvious in his work, even going as far as to recruit legendary producer DJ Premiere to handle the scratching on the back end of this banger.
Out of key piano chords are looped to quickly create an unsettling aura surrounding the track, before El-P’s voice cuts through the infectious piano like a whip. Pounding, up-tempo drums are introduced after the chorus’ first iteration, creating what is possibly El-P’s first danceable beat. Lyrically, Mike and El-P initially seem scattered on this track, however the music video quickly makes their point very obvious.

”we imagined the world on the day that the age old struggle of class was finally over. a day that humanity, empathy and community were victorious over the forces that would separate us based on arbitrary systems created by man.
this video is a fantasy of waking up on a day that there is no monetary system, no dividing line, no false construct to tell our fellow man that they are less or more than anyone else. not that people are without but that the whole meaning of money has vanished. that we have somehow solved our self created caste system and can now start fresh with love, hope and celebration. its a dream of humanity’s V-DAY… and the party we know would pop off.”

The video envisions a society celebrating the fact that the class system we currently exist within has finally imploded. Money is worthless, and we have rejected the desire to bind ourselves to the constraints of capitalism. All creeds and colors unite to burn the system that has so effectively controlled us for over a century. It’s a party, and if there was a song to celebrate the end of the world as it is currently known, “ooh la la” is that song.
Mike’s last verse features a few metaphors and comparisons celebrating the destruction of capitalism, saving the most poignant for last:

I used to love Bruce, but livin' my vida loca
Helped me understand I'm probably more of a Joker
When we usher in chaos, just know that we did it smiling
Cannibals on this island, inmates run the asylum

Premo’s expertly cut scratches lead us into the equally hard hitting sample flip of “Misdemeanor”, by Foster Stevens as the basis for the beat to “out of sight”. Lending yet another nod to the old-school greats that laid the foundation for RTJ, “out of sight” samples the same track as The D.O.C.’s “It’s Funky Enough”, only adding a bouncy, electronic synth atop the inverted chord hits, and uptempo, industrial drums, to create an absolutely infectious groove for Mike and El’s dynamic chemistry to shine, rapidly jumping between each other’s two line flows in the first verse.
“out of sight” shows each MC providing insight into how each of them earned a living and achieved their current status. Mike and El’s opening verse each details themselves robbing people in order to eat. El alludes to the fact that he crossed his accomplices in crime for the whole bag, while Mike details the fact his assailant tells him it’s an “honor” to be robbed by his mother’s only son.
While El-P’s production is the obvious stand out on first listen, Killer Mike comes through with one of the most sonically pleasing and technically proficient verses of 2020.

We the motivating, devastating, captivating
Ghost and Rae relating product of the fuckin' '80s
Coke dealin' babies, never regulating, bag accumulating
It would not be overstating to say they are underrating
The pride of Brooklyn and the Grady, baby
We don't need no compliments or confidence
Our attitude and latitude is "fuck you, pay me"

The dense, intricate rhyme schemes smack you in the face, almost distracting you from Mike’s delivery and blistering flow on the verse; flexing his legendary status while paying homage to his drug-dealing past. This absolutely stunning display of technical skill, story telling, and complex rhyming illustrates how RTJ seamlessly integrates the best of both old school and new school hip-hop.
“out of sight” also features a guest verse from 2 Chainz, and he continues to lay the braggadocio on thick. Considering Tity Boi’s dedication to trap stylings, his verse feels right at home on the flex track, despite it’s late 80’s tribute sample, a considerable departure from his usual sound palette.
Up until this point, I haven’t mentioned any of the El-P’s lyrics specifically. El-P is a great rapper, but Killer Mike… Well, Killer Mike is an incredible rapper. He’s the guy who draws you in. El-P is the one who lays the foundation for greatness and Mike is the show stopper, and that’s generally the case for most RTJ tracks. But on “holy calamafuck”, El-P seems determined to make people stop and ask, “Who the fuck is this?!”.
A sharp, yet nearly minimalistic drum kit backing a heavily distorted synthesizer melody lays beneath rhymically knocking cow-bells. This aggressively set stage allows Mike and El to flex as the dynamic duo they are, until the beat suddenly takes a turn for the chaotic. A gnarled, ultra-menacing synth overtakes everything while Mike screams into the abyss, until a distorted snare, enormous 808s, and skeletal hi-hats cut through and launch the beat switch into another dimension. The minimal, yet incredibly dark soundscape allows El-P to snap in a way I have never heard from him previously. His rhymes schemes are reminiscent of an old MF DOOM lyric notebook, while his topics flawlessly combine flexing, psychedelic use, and his well-cemented legacy in the hip-hop community. Cutting and pasting a few of his bars into this review could not convey a fraction of how stunning El-P’s performance on “holy calamafuck” is.
Slightly later in the track list, making liberal use of the Ether song “Gang of Four”, “the ground below” samples and loops the sharp guitar riff and adds aggressive, pounding drums as the basis for the beat; this is finally reminiscent of the forward-thinking, stridulous production El-P has built his reputation on. Capitalising on the classic RTJ moment, Mike and El both flex in their own unique ways. Mike compares himself to Godzilla taking on Tokyo, and El-P demands respect for his name as the legend he is, threatening to smack dying children for mispronouncing his name with his middle finger to the world; his complete disregard for human life and confidence in his abilities are summed up at the end of his verse.

You see a future where Run the Jewels ain’t the shit
Cancel my Hitler-killing trip
Turn the time machine back around a century

SO¢IAL JU$T-ICE (until my voice go from a shriek to whisper...)
While the first few tracks aren’t without their social and political themes, the back-end of RTJ4 is where Mike and El start to bust out the heavy topics. “goonies vs. E.T.”. starts off light, with El-P pointing to the irony of how once he finally started to make it “big” in the industry, the world began to descend into chaos due to climate changes, increasingly obvious social injustice, and political madness. He culminates his frustration with our disregard for the Earth with a fantastic quotable.

Fuck y’all got, another planet on stash?
Far from the fact of the flames and our trash
That is not snow, it is ash, and you gotta know
The past got a wrath, it’s a lover gone mad

Mike’s verse takes the light-hearted frustration expressed by El-P, and turns the aggression to the next level. Aiming his sights against the ruling class and their society that’s been designed to oppress people for profit, who have very meticulously painted themselves as celebrities and idols to the American public. Mike accepts that he will be villainized by these people for speaking against them, but he welcomes the nefarious role, knowing that the working class will eventually eat the rich, no matter how much they are stomped into the dirt.
And this is just the warmup.
If it’s possible for a song to represent a moment in time that captures the absolute shit storm that has been 2020, “walking in the snow” is that song. It’s release coincided perfectly with the protests for George Floyd which were sweeping the nation. Killer Mike’s verse directly references the phrase “I can’t breathe”, the last words of Eric Garner, which also happened to be the last words of Floyd as well. The fact that this verse was reportedly written in November 2019 perpetually underscores the importance of the content and perfectly represents how persistent this problem is. “walking in the snow” is a true encapsulation of both a defining moment in time and an ever-persisting issue.
But he doesn’t just stop at the racial injustice. Mike goes on an absolute rant about the American education system; how it’s not designed to teach people, but to discriminate against poor populations, limiting their legitimate opportunities, and therefore disproportionately leading them into a criminal lifestyle. He calls out the media as fear-mongers, and the apathy of the American public in the face of indecency. Fortunately for Mike, by the time we finally had the chance to hear this masterpiece, we were already on our feet, using this album as a war cry to mobilize against a tyrannical government that militarized against its own citizens simply for asking that we recognize systemic racism and demanding change. Killer Mike has the best verse of the year, no doubt in my mind.
The only drawback is that Mike’s verse is so fucking good that it completely overshadows El-P’s, which is also amazing. A menacing guitar riff and haunting synths kick the track off into a bouncy groove, where El-P unleashes a flurry of internal rhymes that does not relent for about half his verse. Even adding layers of social commentary within the densely packed bars, El refuses to quit and continues on his political tirade; criticizing ICE’s detainment center practices and the “pseudo-Christians” who support them, with a bar that now lives in my head:

Pseudo-Christians, y’all indifferent, kids in prison ain’t a sin? Shit
if even one scrap of what Jesus taught connected you’d feel different
what a disingenuous way to piss away existence, I don’t get it
I’d say you lost your goddamn minds if y’all possessed one to begin with

The combination of two of the best verses spit by any rapper(s) this year and production help from El-P and long time RTJ collaborator Little Shalimar, create a bouncy, aggressive, deeply truthful banger. “walking in the snow” not only encapsulates the crux of 2020 with lyrics that will become more powerful as they age, but will also forever be associated with the Black Lives Matter movement and the determination to expose continuing racial and societal injustices.
The sonic palette of RTJ4 holds an extremely unique place in El-P’s discography. Jamie is the definition of a self-made 90’s hip-hop legend. This is the dude who put New York underground hip-hop on the map with Company Flow, and he did it with his unique flavor of dark, noisy, dense, boom-bap. Whether he was doing it with the help of Rawkus, or completely independently during his Definitive Jux run, El-P has never made music with the intention of becoming famous. Funcrusher Plus, Fantastic Damage,I’ll Sleep When You’re Dead, and Cancer 4 Cure are all highly revered as industrial, technical, abrasive, and completely unsuitable for the radio or a party. The fact that three songs on RTJ4 could easily be heard on the radio, at a party, or in a TV series credits scene is frankly, astounding. In a 2002 interview/documentary on El-P’s budding record label Def Jux, he stated that his friend bet him $500 that he could not make a beat that was “happy”. At the time of the interview, El-P said that he had not won that bet yet. While I might not qualify the beats on RTJ4 as “happy”, if you showed El-P the beat for “JU$T” in 2002, I believe he might have won that bet.
Pharell opens “JU$T” with the pre-chorus, spitting varied examples of how we’re all slaves to our current system throughout the track, over echoing snares and bouncy 808s before bright synth chords and up-tempo hi-hats burst in while Killer Mike delivers the chorus, pointing to the fact that the majority of the people featured on American currency owned slaves at one point in their lives. Mike’s verse touches on the fact that he has committed crimes to get where they are today. Mike is publicly open about his past as a drug dealer. So why is he a criminal, but Benjamin Franklin isn’t? These are the people who built our country, and they built it on the backs of slaves. He illustrates this theme with a more recent examples:

You believe corporations runnin marijuana? Ooh (how that happen?)
and your country gettin ran by a casino owner (ooh)
pedophiles sponsor all these fuckin’ racist bastards (they do)

When corporations are able to sell cannabis legally, but the government continually incarcerates people who trap, our president is a notoriously fraudulent businessman, and the people who helped put him in power run a pedophile ring, yet none of them face consequences and are allowed to continue to profit and remain in power while people suffer; well, we might be closer to slaves than previously imagined.
Rage Against The Machine frontman Zach de la Rocha also makes his mandatory feature appearance at the end of “JU$T”. As the only artist to feature on three Run The Jewels albums, Zach is essentially an unofficial member of the group at this point. His fiery verse is spit with the same “Rage” energy that set him apart in the mid-90’s, ending the track questioning his place in a capitalist society as a recipe for his inevitable demise, since his “breath”, or art, as his weapon to express himself is still being exploited for other’s profit.
Continuing with RTJ4’s heavily synthetic sonic palette, “never look back” features wavering synth leads resting above the slow-jams snappy snares and thumping bass, while a haunting voice echoes in the background. This unsettling aura provides additional gravity for Jamie and Mike to continue self-reflecting on defining moments in their childhood, and as well as how far they’ve come from those moments. Mike and El are both self-made men, and while they have a certain fondness for those gritty moments that defined them, moving forward in life is undoubtedly more important.
Skeletal drums reminiscent of a slowly pounding heart opens “pulling the pin”, before rhythmic hi-hats and textured, watery synths fluttering in the upper register resting above a bouncy synth lead, and punchy 808s, burst in. The track digs itself into a slower, marching groove and shows the duo figuratively doing exactly what the title implies. Painting a portrait of a society that has turned on itself, Mike and El are ready to pull the pin and start over.
The duo both detail their despise for the ruling class, pointing out multiple examples of how the elite have designed our society to keep poor people in their class. Simultaneously recognizing their own hypocrisy for profiting in a system that inherently discriminates; Mike reflects on his own success, knowing that living the lifestyle he enjoys is one built on oppression, and expresses the guilt that has caused him. El-P opens with a brutal metaphor for police, implying that they’re the root cause of the “wretched state of danger” our society exists within, and that the only effective corrective action is to numb yourself with drugs. Despite his advice, Jamie knows this is not a permanent solution, but one that causes more self-inflicted wounds.
The final piece of the puzzle that is RTJ4, “a few words for the firing squad” begins to close the album with ever crescending strings, and loud, thunderous drums which never seem to resolve, continuing throughout their verses. While the drums that lead to nowhere can be sonically unpleasant, the unresolved melodies are intentionally representative of their current mindsets. Their verses are reflective and grim, but simultaneously optimistic and envisions a world where tragedy is a less common occurrence.
El is grateful for what he has now but recognizes his entire life has been skewed by traumas, so out of place feels normal for him. He reflects on his current success, noting that the worst people tend to end up with the most, which makes becoming “rich” something not as desirable as it once was.
Mike opens up about the death of his mother who died while he was on an airplane, admitting his struggles to not cope with his trauma with opioids. However, his wife provides him the most important reason to stay clean “but my queen/say she need a king/not another junkie rapper fiend” while a heartbreaking saxophone solo highlights the gravity of his lyrics.
The track ends with what sounds the like wrap-up voiceover to a TV show, a conceptually satisfying ending, as the opening track “yankee and brave (ep.4)” began with El-P stating:

”This week, on Yankee and The Brave”

This voiceover paints the duo as brothers on the run from the law and crooked cops, and while this does close this “episode” out as intended, the critic in me is bothered by the slightly kitschy outro to such a spectacular album. The voices singing over and over, “Brave, brave, braaaaaave, Yankee and the Brave” would be, simply put, better left on the cutting room floor. The ending of this track alone is what knocks my score of this album down a few points. Despite its stellar lyrical content, with drums that never seem to reach that “holy shit!” moment, and the easily skippable outro, it’s upsetting to me that an album this great ends on such a low note.
Overview
RTJ4 is by far my favorite album of the year. El-P’s cutting edge approach to their sound, blended with lyrical content that continues to be more relevant by the day, the duo have come together with what is objectively their most accessible album to date. RTJ4 is the natural evolution of sound and subject matter for the duo; taking the foundation set by Run The Jewels 3 and evolving it into a more concise, more accessible, and more conceptual album. While I still personally prefer the “fuck the world” intensity and experimental nature of Run The Jewels 2, RTJ4 opens themselves up to a whole new world of exposure, and when you’re as talented as these two, you know they’re going to capitalize on it. RTJ is currently at their apex, and they’ve created an album that will make many new life-long fans going forward.
9.2/10
Discussion Points

• How does this compare to other RTJ releases? How about in comparison to the member’s solo works?
  
• Does the overwhelmingly positive critical reception of this album surprise you?
  
• How will this be looked back on in 5 years?
  
• What are your favorite lyrics?
  

Capcom has with this latest patch locked out the ability to mod certain things, these includes colors for the costume 1 slot, obviously in an attempt to make people buy at least one costume per character they want to mod. They have also locked the ability to modify new premium costumes, that is to change colors on them and things like this.
To me that isn't the worst thing though, it's that we no longer have the ability to modify new stages. I absolutely 100% relied upon mods that reduced the number of NPC's in a stage in order to focus on the match. Let me give you an example:
High roller casino stage without NPC
High roller casino default
When this stage was introduced the first thing I did was go to check if there was a mod for this because it was totally unacceptable to me and with the number of people choosing it meant it had to be done.
So last night when they announced the CPT DLC package, after the disappointment had died down after learning that it's PS4 exclusive I at least went and bought the overpriced stage since it's perfect for R. Mika, again I went to the modding board to get the mod that removes the ringside NPC's and reduced the blinking lights a bit when I found out it can no longer be done..
Capcom is making it very hard right now for me to keep supporting this game, I only bought this knowing that I would be able to mod these things and then finding out I no longer can..
More importantly there's players who rely on stage mods to even achieve 60fps by replacing every stage with training stage and for these players they now have to play stages with very poor performance and no way to fix it.
List of stuff that can no longer be modified is:

• Chara
  
• every character's DA_XXX_CustomizeSetting_01.uasset
  
• Cammy's CPT Costume
  
• ChunLi's Summer and CPT Costume
  
• Karin's Summer Costume
  
• Mika's Summer Costume
  
• Las Vegas Stage
  
• CPT Stage
  

Sorry if I let the post drag on but wanted to cover most of this.. It's really sad that Capcom has taken such a harsh stance on modding, I've spent a lot (over $50) on their DLC so far but I can't justify it anymore..

After selling some 1/15 $30 calls (for less than I potentially could have but I was ready for them to expire worthless), I wanted to give something back. This is basically found money as this is a casino, and I am retarded (obviously).
National [$ROPE] Prevention Hotline - Immediate family member $ROPED (many years ago). They do difficult work and have helped several others that I've spoken with out of a difficult time. You may need them when your GME puts expire worthless.
Global Down's Syndrome Foundation - Always donate to them any winnings in Fantasy Football as they are the favored charity of my top player, Christian McCaffrey. We probably all could benefit from this.
Foundation for Prader-Willi Research - A dear family friend lived with Prader-Willi Syndrome and unfortunately recently passed from COVID at the age of 38. She was very much a kind soul and cared for others immensely. She has done more with what she had than most I know who hit the genetic lottery. If any of you are inspired by this post to donate any of your GME gains, please send it here, post in this thread, and I'll pass it along to her family.
Positions - 10 4/15 2021 30c, 500 shares (and I'm never fucking selling)

The Catalan government has announced updated rules and guidelines relating to the ongoing pandemic.
TLDR: as of Monday 8 February, you can:

• travel within your comarca (was municipality)
• go to the gym (30%, and you have to book)
• go to lunch or breakfast at a restaurant for 1 hour more

You are not allowed to leave or enter Catalonia without good reason (e.g. work, emergency, important administrative reasons, court summons, caring for dependents, etc).
Comarcal (county, NOT municipal) lockdown from Monday 8 February - 22 February

• You may not leave your comarca (county, e.g. Barcelonès, Vallès Occidental) during this time, except for good reason (e.g. work, school, looking after dependents, medical emergency, etc). Here is a map of the comarques of Catalonia.
• This overrules the previous municipal lockdown. You are no longer limited to staying in one town/municipality.
• For anyone living in Barcelona, this means that you can travel freely between BCN, l'Hospitalet, Badalona, Sant Adrià de Besòs and Santa Coloma de Gramanet.
• You can download the updated self-declaration form here
• You can meet in groups of 6 people max, from up to 2 'bubble' groups

The daily curfew rules remain:

• Everyone should be off the streets and indoors between 2200-0600.
• Public transport schedules do not change
• You can use a "self responsibility certificate" (see above) to explain why you're breaking the rules
• Fines range from 300€ to 6,000€

Bars and restaurants:

• May open from 7.30 am to 10.30 am, and from 1.00 pm to 4.30 pm
• May open during the rest of the day, but only for takeaways
• Max 4 people per table (6 if you all live together)
• Indoors: 30% occupancy
• Terraces: 100% occupancy
• 2 meter safety distance must be observed for all customers
• Deliveries until 11pm, collect take out until 10pm

Shops, stores and other businesses:

• All non-essential shops and stores closed at weekends
• Shopping centers closed
• All stores over 400m2 closed for the full 10 days
• Hairdressers and beauty salons can open, clients need a prior appointment

Culture

• Cinemas, theaters and concert halls may open to 50% occupancy (max 500 people)
• Museums and galleries open to 50%
• Bookshops can open normally

Education

• Some university courses will now require attendance
• After-school activities remain suspended

Sport and fitness

• Outdoor sports facilities open (max 50% occupancy)
• Gyms may open to 30% occupancy. Clients will need to book in advance. Changing rooms cannot be used except for going swimming
• Competitions remain suspended
• Outdoors sports activities in groups of 6 max

Others

• Casinos, bingo halls etc remain closed
• Indoor playgrounds remain closed
• Outdoor playgrounds open until 8pm
• Religious and civil ceremonies allowed, up to 30% occupancy

Work

• Companies should encourage working from home, where possible
• Conventions, trade shows and fairs etc. are all banned

Hi y'all. I'm writing a paper for a class on River City, and I'm trying to describe the architecture of the place, but I'm having a hard time figuring out the right words to use. Here are some pictures I swiped from Google Images for reference. 1 2 3
Thanks in advance for any help you can give me! :)

I'm not entirely sure if this is the appropriate subreddit for this, but here it goes:
So, after finding some unique problems with my initial cosplay costume idea, one alternative idea that came in mind for an upcoming local comic con is Sam Rothstein from the arguably underrated 1995 Martin Scorsese film, Casino. It's a more easier, cheaper and arguably cooler option, though I'm also curious as to how I can pull off the hair cut for this (yes, I'll be using my current head hair instead of going the wig route). I'm curious if there's any tips or ideas on how I can pull it off. Any suggestions, guides or tips?
Here's one picture source.

If you have a cool idea for a Hardline map; post it here! Let's see if we can stir up any idea's for the Dev's....
I'll get the ball rolling....
1)------- Las Vegas Casino (very Rainbow Six-ish)----------
http://www.etravelblog.com/wp-content/uploads/2013/05/The-Rio-All-Suite-Hotel-and-Casino.jpg
http://www.vegas-lights.us/wp-content/uploads/2013/04/ResortsWorldSentosaCasino1.jpg
http://static6.businessinsider.com/image/4ff337e669bedd5f3d000007/these-casinos-in-macau-make-las-vegas-look-like-a-dump.jpg
2) --------------Brazilian Favela's---------------------------
http://www.gowestproject.com/wp-content/uploads/2012/03/Favela.jpg
http://riotimesonline.com/wp-content/uploads/2011/11/Marino-Azevedo-tanks-in-Rocinha.jpg
http://photography.nationalgeographic.comTvyamNb-BivtNwcoxtkc5xGBuGkIMh_nj4UJHQKuoXZdPRW7QlRG79Y0MjGUoo9ydei8wjLHYIAWXw/
3) -------------------- Airport ------------------------------
http://www.businesskorea.co.ksites/default/files/field/image/Incheon-airport.jpg
http://www.flagshipinc.com/wp-content/uploads/airport2_2100x1200x300.jpg
http://www.legic.com/media/531654/v6/ImageFile/frankfurt-airport-tower-photo-fraport-ag.jpg
4) ----------- Moving Train -----------------------------
http://upload.wikimedia.org/wikipedia/commons/d/d3/UP_EMD_SD9043AC_Joso_Bridge,_USA.jpg

Hi all,
I thought I would share my profits for Matched Betting Extra Place Horse Racing for Jan 21. January 2021 has turned into my best month of Matched Betting since I started way back in Summer 2018. This months profits are roughly £4,707. A life changing figure for many and a great figure seeing this is achievable on top of a full time job. Matched Betting is the only decent side hustle I have actually found, compared to doing hundreds of boring online surveys...yuck! (Unless you are a good business person / have 5 lodgers / lots of family money etc.) To see some of my other Matched Betting profits you visit my site: https://cashontheside.co.uk/
I will be investing some of my profits this month in ETF/Shares and putting into house improvements like a new drive way. In addition with Cheltenham horse festival coming up in March, I will be increasing my bank to cover liabilities.
The bulk of my profits came from Extra Place racing, large underlayed winners and BOG (best offer garuntee). Variance was certainly on my side this month and I must have had at least 10 large winners which won upwards of £1600 pounds per bet. As I underlay my bets I made more profit than If I had fully layed of the bets. About 5% of these profits came from low risk casino. After you have completed all welcome offers...in Matched Betting. Ep's become a gold mine...and I truly recommend them to anyone.
Some more of my bets this month illustrating underlayed bets and ep:
https://cashonthesidecouk.files.wordpress.com/2021/02/winnings4.jpg
https://cashonthesidecouk.files.wordpress.com/2021/02/winnings.jpg
https://cashonthesidecouk.files.wordpress.com/2021/02/another-winner.jpg
​
Images of one of my bets illustrative of Best offer guarantee: https://cashonthesidecouk.files.wordpress.com/2021/01/136707133_10159536662702922_8507610622687908137_o-1.jpg?w=544
For those who are starting out on their Match Betting journey in 2021 these sort of figures are achievable to you once you have experience….unfortunately this will not come overnight! I do put a lot of time into it..between 2-5 hours a day, 7 days a week sometimes. For the average person you could earn at least £500 a month.
To learn more about Match Betting please visit my article Boost Your Income with Matched Betting. Alternatively you can start an Odds Monkey free trial where they will teach you step by step and give you the calculators you need: odds monkey trial https://www.oddsmonkey.com/affiliates/affiliate.php?id=64754(affiliate) or www.oddsmonkey.com. (non affiliate)
To those with a little more experience who want to learn about Matched Betting Extra Places you can visit my guide here Extra Place Match Betting tips here or I have copied and pasted it all below.
For those with Matched Betting Experience - my guide and tips to Extra Places:
What is Extra Place Matched Betting?
Extra Places can be a very lucrative technique to learn. Extra Places are available for us to do pretty much every day, increasing the appeal. Extra Place Offers are available to all customers. This means that even if you get gubbed with a bookmaker, in most cases, you can still make money with them by Matched Betting on their Extra Place Offers.
Extra Places are considered an advanced reload offer, as they not risk-free. However once you have gained some experience on more basic horse racing offers, you can start to take advantage of the lucrative profits available. It may sound complicated but as soon as it ‘clicks’, it becomes simple. Essentially we are taking advantage of the bookies and exchanges paying out if the horse you have backed comes a certain ‘place’ in a race e.g. 4th.
Extra Places combined with additional offers such as BOG (Best Offer Guarantee) can mean additional profits. For example, you back a horse at odds of 15 and then the starting odds move up to 23. If that horse wins you win an extra x8 on your bet. You can see some real life scenarios I found of Extra Place combined with BOG below. Depending on the size of the underlay, profits below would range up to £3,000+

What is a ‘place’ in horse racing?

Quite simply a ‘place’ is the position the horse finishes a race in. For example if a horse wins a race it comes 1st, if a horse comes 2nd its 2nd. In some races with a large number of horses some bookies will pay out if a horse finishes the race in 1st, 2nd, 3rd, 4th, 5th and 6th position. Horse Racing festivals such as Cheltenham or Ascot are particularly well known for this.

What is an ‘Extra Place’ in horse racing?

Now we’ve understood what a place is in horse racing you may have probably already guessed what an ‘extra place’ is going to be! An ‘extra place’ is where the bookies add one (or more) additional places to their standard place classification on a particular race. For example they may offer to ‘pay 7 places on a race’ instead of the standard 3 places. The ‘extra place’ in this instance cover 4th, 5th, 6th and 7th.
What are my Extra Place top tips?

1. Some of my biggest profits have come from big underlayed winners and BOG. I typically underlay most of my bets by about 20% sometimes more. If you are starting out I would underlay on the place only by about 10% to play it safe until you learn more.
2. Don’t bet on more places than a bookmaker is offering. E.g. If the bookmaker is offering 4 places don’t bet on more than that.
3. Whilst your learning, take horses on implied odds of at least 12 or more on a match of 80%+.
4. Look to keep qualifying losses down. E.g. for £100 profit, £5 ql.
5. Please note, the best odds are typically found between 10 minutes up and to race time. You have to be quick on your ‘toes’…learn to walk before you run etc. Start out on easy horse racing officers before doing extra places.
6. You will need a bank of at least £1000+ for your exchanges, ideally more. The more you have the more of the field you can cover. You can do EP with several hundred in your exchange but you won’t be able to make bigger profits.
7. Be consistent, don’t take risks, don’t chase your losses and learn from matched betting extra place forums.
8. Keep the Odds Monkey up throughout the day...and check for good matches.
9. Use Bookies Boosts to increase your odds and matches.
10. Do not give in to your fear of missing out on offers…Tomorrow is another day.
11. Have at least a dual monitoscreen setup. It is important to be able to see exchange, books and calcs.

How do I find Extra Places offers?
I use the the Odds Monkey Extra Place Matcher to find the best opportunities for profit. The Matcher is explained in the below video.
https://youtu.be/oOKAdiSJidg
I am also a regular visitor of the active Odds Monkey community forums. You can sign up for an Odds Monkey free trial today here today https://www.oddsmonkey.com/affiliates/affiliate.php?id=64754 www.oddsmonkey.com (non affiliate). Odds Monkey provide you with the all guides, calculators etc. I have been a member for over 2.4 years now.
Feel free to get in touch or ask below if any questions.