Candace Owens Rips Lil Nas X’s ‘Satan Shoes’: ‘Nobody Has The Courage To Tell Black America The Truth’

[SpaceCoastVol]

What was everyone's last concert before the world ended?

The Alan Parsons Project at The Fred in Peachtree City. Awesome

 

[NEO]

You were an ICP juggalo? LOL

No.

I was dragged to their concerts by a juggalo friend.

I was very into rock and some grunge like Alice in chains.

I was a psyche major with a minor in philosophy at the time at osu. We saw concerts at newport almost weekly.

 

[FLVOL_79]

I would have liked to have seen Weezer and Pantera especially Pantera.

Some Heavy Notables seen live:

Cryptopsy
Obituary
Slayer X 6
Cannibal Corpse X 5
Metallica
Megadeth
Origin
Cattle decapitation
Deicide
Nile
Opeth
In flames (before they sucked)
Gorguts
Burnt by the sun
The murder Junkies minus the deceased GG Allin

Some Lighter bands/artists seen live:

REM
Wesley Willis
Boyz 2 Men (Go ahead and laugh)
Sawyer Brown
NOFX
Bad Religion
Sonic Youth
Vandals
Lee Greenwood (I was drunk)
Charlie Daniels (Hammered once again)
Triple six Mafia (ganja smoke extravaganza)

This VID seems appropriate for the topic being discussed. Enjoy!

I saw Pantera open for Sabbath on their 1999 reuinion tour. Pantera came out and Phil had a Lowes bucket of beer..chugged most of it, wiped the cocaine from his nose, and they went balls to the wall for an hour.

Then sabbath came on and it was like a talent show at the nursing home.

 

[FLVOL_79]

*opens with statement that someone knows nothing about music*

*proceeds to crap out an incredibly wonky and blatantly incorrect take on the music industry*

Lol

Its 100% accurate description of the mainstream music industry.

 

[FLVOL_79]

Weezer is an awesome live concert

Not a huge Weezer fan, but they played their instruments well and unlike 95% of other bands could actually sing and play like they sounded on their album(s).

 

[DinkinFlicka]

Its 100% accurate description of the mainstream music industry.

No... no, it's not.

 

[midnight orange]

I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I didn't really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely "Follow you, Follow Me.' Otherwise all the albums before Duke seemed too artsy, too intellectual. It was Duke(Atlantic; 1980), where Phil Collins' presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel's departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins' drumming than Mike Rutherford's bass lines or Tony Banks' keyboard riffs. A classic example of this is "Misunderstanding," which not only was the group's first big hit of the eighties, but also seemed to st the tone for the rest of their albums as the decade progressed. The other standout on Duke is "Turn It On Again," which is about the negative effects of television. On the other hand, "Heathaze" is a song I just don't understand, while "Please Don't Ask" is a touching love song written to a separated wife who regains custody of the couple's child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock 'n' roll group? I don't think so. "Duke Travels" and "Dukes end" might mean something but since the lyrics aren't printed it's hard to tell what Collins is singing about, though there iscomplex, gorgeous piano work by Tony Banks on the latter track. The other bummer about Duke is "Alone Tonight," which is way too reminiscent of "Tonight Tonight Tonight," from the group's later masterpiece Invisible Touchand the only example, really, of where Collins has plagiarized himself.

Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eights sound and though the songs seem fairly generic, there ares till great bits throughout the extended jam in the middle of the title track and the horns by some group called Earth, Wind, and Fire on "No Reply at All" are just two examples. Again, the songs reflect dark emotions and are about people who feel lost or are in conflict, but the production and sound are gleaming and upbeat (even if the title's aren't: "No Reply at All," "Keep It Dark," "Who Dunnit?" "Like It or Not"), Mike Rutherford's bass is obscured somewhat in the mix but otherwise the band sounds tight and is oce again propelled by Collins' truly amazing drumming. Even at its most despairing (like the song "Dodo," about extinction), Abacabmusically is poppy and lighthearted.

My favorite track is "Man on the Corner," which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily com off any of Phil's solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band's hopeful humanism. "Man on the Corner" profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), "that lonely man on the corner" who just stands around. "Who Dunnit?" profoundly expresses the themes of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.

Hugh Padgham produced next an even less conceptual effort, simply called Genesis(Atlantic; 1983), and though it's a fine album a lot of it now seems to derivative for my tastes. "That's All" sounds like "Misunderstanding," "Taking It All Away" reminds me of "Throwing It All Away." It also seems less jazzy than its predecessors and more of an eighties pop album, more rock 'n' roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical "Mama," that's both strange and touching, though I couldn't tell if the singer was talking about his actual mother or to a girl he likes to call "Mama." "That's All' is lover's lament about being ignored and beaten down by a unreceptive partner; despite the despairing tone it's got a brilliant sing-along melody that makes the song less depressing than it probably needed to be. "That's All" is the best tune on the album, but Phil's voice is strongest on "House by the Sea," whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it's unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuoustic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song's third verse at the end it can give you chills.

"Illegal Alien" is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad--a ******* trying to get across the border into the United States--but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he's waring (probably stolen); and it all seems totally accurate. Phil sings it funniest, and the rhyme of "fun" with "illegal alien" is inspired. "Just a Job to Do" is the album's funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. "Silver Rainbow" is the album's most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with "It's Gonna Get Better." Even if the lyrics seem a tiny bit generic to some, Phil's voice is so confidence (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.

Invisible Touch (Atlantic; 1986) is the group's undisputed masterpiece. It's an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back to the listener, and the music is so beautiful that it's almost impossible to shake off because every song makes some connection about the unknown or the spaces between people ("Invisible Touch") questioning authoritative control whether by domineering lovers or by government ("Land of Confusion") or by meaningless repetition ("Tonight Tonight Tonight"). All in all it ranks with the finest rock 'n' roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp modern a sound as this. You can practically hear every nuance of every instrument.

In terms of lyrical craftsmanship and sheer songwriting skills, this album hits a new peak of professionalism. Take the lyrics to "Land of Confusion," in which a singer addresses the problems of abusive political authority. This is laid down with a groove funkier and blacker than anything prince or Micheal Jackson--or any other black artist of recent years, for that matter--has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love's failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on "In Too Deep"; yet it also showcases Collins' clowny, prankish, predictable side. It's the most moving pop song of the 1980s about monogamy and commitment. "Anything She Does" (which echoes the J. Geils Ban's "Centerfold" but is more sprinted and energetic) starts off side two and after that the album reaches its peak with "Domino," a two part song. Part one, "In the Heat of the Night," is full of sharp, finely drawn images of despair and it's paired with "The Last Domino," which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I've heard in rock.

Phil Collins' solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Requiredand songs like "In the Air Tonight" and "Against All Odds" (though that song was overshadowed by the masterful movie from which it came) and "Take Me Home" and Sussudio" (great, great song; a personal favorite) and his remake of "You Can't Hurry Love," which I'm not alone in thinking is better than the Supreme's original. But I also think that Phil Collins works better with the confines of the group than as a solo artist--and I stress the word artist. In facgt, It applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England int eh 1980s.

 

[NEO]

I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I didn't really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely "Follow you, Follow Me.' Otherwise all the albums before Duke seemed too artsy, too intellectual. It was Duke(Atlantic; 1980), where Phil Collins' presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel's departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins' drumming than Mike Rutherford's bass lines or Tony Banks' keyboard riffs. A classic example of this is "Misunderstanding," which not only was the group's first big hit of the eighties, but also seemed to st the tone for the rest of their albums as the decade progressed. The other standout on Duke is "Turn It On Again," which is about the negative effects of television. On the other hand, "Heathaze" is a song I just don't understand, while "Please Don't Ask" is a touching love song written to a separated wife who regains custody of the couple's child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock 'n' roll group? I don't think so. "Duke Travels" and "Dukes end" might mean something but since the lyrics aren't printed it's hard to tell what Collins is singing about, though there iscomplex, gorgeous piano work by Tony Banks on the latter track. The other bummer about Duke is "Alone Tonight," which is way too reminiscent of "Tonight Tonight Tonight," from the group's later masterpiece Invisible Touchand the only example, really, of where Collins has plagiarized himself.

Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eights sound and though the songs seem fairly generic, there ares till great bits throughout the extended jam in the middle of the title track and the horns by some group called Earth, Wind, and Fire on "No Reply at All" are just two examples. Again, the songs reflect dark emotions and are about people who feel lost or are in conflict, but the production and sound are gleaming and upbeat (even if the title's aren't: "No Reply at All," "Keep It Dark," "Who Dunnit?" "Like It or Not"), Mike Rutherford's bass is obscured somewhat in the mix but otherwise the band sounds tight and is oce again propelled by Collins' truly amazing drumming. Even at its most despairing (like the song "Dodo," about extinction), Abacabmusically is poppy and lighthearted.
My favorite track is "Man on the Corner," which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily com off any of Phil's solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band's hopeful humanism. "Man on the Corner" profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), "that lonely man on the corner" who just stands around. "Who Dunnit?" profoundly expresses the themes of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.

Hugh Padgham produced next an even less conceptual effort, simply called Genesis(Atlantic; 1983), and though it's a fine album a lot of it now seems to derivative for my tastes. "That's All" sounds like "Misunderstanding," "Taking It All Away" reminds me of "Throwing It All Away." It also seems less jazzy than its predecessors and more of an eighties pop album, more rock 'n' roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical "Mama," that's both strange and touching, though I couldn't tell if the singer was talking about his actual mother or to a girl he likes to call "Mama." "That's All' is lover's lament about being ignored and beaten down by a unreceptive partner; despite the despairing tone it's got a brilliant sing-along melody that makes the song less depressing than it probably needed to be. "That's All" is the best tune on the album, but Phil's voice is strongest on "House by the Sea," whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it's unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuoustic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song's third verse at the end it can give you chills.
"Illegal Alien" is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad--a ******* trying to get across the border into the United States--but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he's waring (probably stolen); and it all seems totally accurate. Phil sings it funniest, and the rhyme of "fun" with "illegal alien" is inspired. "Just a Job to Do" is the album's funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. "Silver Rainbow" is the album's most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with "It's Gonna Get Better." Even if the lyrics seem a tiny bit generic to some, Phil's voice is so confidence (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.

Invisible Touch (Atlantic; 1986) is the group's undisputed masterpiece. It's an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back to the listener, and the music is so beautiful that it's almost impossible to shake off because every song makes some connection about the unknown or the spaces between people ("Invisible Touch") questioning authoritative control whether by domineering lovers or by government ("Land of Confusion") or by meaningless repetition ("Tonight Tonight Tonight"). All in all it ranks with the finest rock 'n' roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp modern a sound as this. You can practically hear every nuance of every instrument.
In terms of lyrical craftsmanship and sheer songwriting skills, this album hits a new peak of professionalism. Take the lyrics to "Land of Confusion," in which a singer addresses the problems of abusive political authority. This is laid down with a groove funkier and blacker than anything prince or Micheal Jackson--or any other black artist of recent years, for that matter--has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love's failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on "In Too Deep"; yet it also showcases Collins' clowny, prankish, predictable side. It's the most moving pop song of the 1980s about monogamy and commitment. "Anything She Does" (which echoes the J. Geils Ban's "Centerfold" but is more sprinted and energetic) starts off side two and after that the album reaches its peak with "Domino," a two part song. Part one, "In the Heat of the Night," is full of sharp, finely drawn images of despair and it's paired with "The Last Domino," which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I've heard in rock.

Phil Collins' solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Requiredand songs like "In the Air Tonight" and "Against All Odds" (though that song was overshadowed by the masterful movie from which it came) and "Take Me Home" and Sussudio" (great, great song; a personal favorite) and his remake of "You Can't Hurry Love," which I'm not alone in thinking is better than the Supreme's original. But I also think that Phil Collins works better with the confines of the group than as a solo artist--and I stress the word artist. In facgt, It applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England int eh 1980s.

Genesis with peter as front man is a totally different band than with Phil.

He was taking the band further and further into avant garde territory and he was just getting damn weird.

He was almost gwar level with the costumes.

I much much prefer Phil.

 

[midnight orange]

Genesis with peter as front man is a totally different band than with Phil.

He was taking the band further and further into avant garde territory and he was just getting damn weird.

He was almost gwar level with the costumes.

I much much prefer Phil.

Patrick Bateman agrees

 

[NEO]

Lean does not contain ANY form of alcohol, crushed pills, or other liquids in general.

Urban Dictionary: Lean

Lean is purple drank and contains codeine.

It will make your junk tingle.

I have heard.

 

[NEO]

Patrick Bateman agrees

I will have a few songs played at my funeral. Southern cross and take me home by phil will probably be two in the list.

I may even have the drum beat from take me home timed to when they send me in the burners to cremate me and I will have pyro go off.

My daughter though wants to throw me out of a plane like I am parachuting but no shoot opens and I hit the ground as she films it Facebook live screaming.

She has a sick sense of humor like me.

We may just settle on a weekend at neo's kinda thing. You all think I am joking but when ur invited over and I ain't moving you will remember this post. Just enjoy the evening and jump in the line.

 

[FLVOL_79]

No... no, it's not.

It is. I'm not including your underground tween trap house hip hop outlaw country crossover jams which isn't as mainstream as you wished it was. Everything pop music has the same basic chords/progression. Lyrical content (which I could care less about) is on par with a 6th grade book report on Watership Downs first few chapters. All the "big hits" are not written by the artists but by teams of writers/musicians employed by the labels. Get some music producer friends and sit in on some recording sessions. You'll be shocked at how fast a hip hop album can be made.

 

[DinkinFlicka]

It is. I'm not including your underground tween trap house hip hop outlaw country crossover jams which isn't as mainstream as you wished it was. Everything pop music has the same basic chords/progression. Lyrical content (which I could care less about) is on par with a 6th grade book report on Watership Downs first few chapters. All the "big hits" are not written by the artists but by teams of writers/musicians employed by the labels. Get some music producer friends and sit in on some recording sessions. You'll be shocked at how fast a hip hop album can be made.

Sounds like VN's wonderbread thinks he's spent time in a studio. Lol.

You have no room to even attempt poking fun at my taste in anything. You butt chug bud limes and listen to bands with names like Goat F*cker. Get your weak sh*t outta here.

 

[FLVOL_79]

Sounds like VN's wonderbread thinks he's spent time in a studio. Lol.

You have no room to even attempt poking fun at my taste in anything. You butt chug bud limes and listen to bands with names like Goat F*cker. Get your weak sh*t outta here.

I have a family member who owns a record label. I've seen how the industry works my entire life. So yeah, I've been in a studio once or twice (not to record myself). I'm sure I could get you into a studio though, in either Philly or Tampa on a stimulus check recipient level fee for your post punk hip hop zimacore crossover solo project.

Or you could just do a straight rap album. 1 day, in and out, nominal fee. Lyricize about the struggles in your life over a drum loop (beat). Vocal auto tune and pitch shifting. Add in a cheesy catch like a detuned harpsichord patched through a harmonizer. Man...could be a winner! (Thats the bread and butter of small studios, exploiting rap. Its like taking candy from a dead baby killed in a drive by.)

 

[DinkinFlicka]

I have a family member who owns a record label. I've seen how the industry works my entire life. So yeah, I've been in a studio once or twice (not to record myself). I'm sure I could get you into a studio though, in either Philly or Tampa on a stimulus check recipient level fee for your post punk hip hop zimacore crossover solo project.

Or you could just do a straight rap album. 1 day, in and out, nominal fee. Lyricize about the struggles in your life over a drum loop (beat). Vocal auto tune and pitch shifting. Add in a cheesy catch like a detuned harpsichord patched through a harmonizer. Man...could be a winner! (Thats the bread and butter of small studios, exploiting rap. Its like taking candy from a dead baby killed in a drive by.)

You're still trying to dump on my taste while listening to trailer metal

I'll give you points for persistence. Think you can talk your 'family member' (it's Rick Reuben isn't it) into a partial stimmy deal? Uncle Joe only gave me 250 this year.

 

[FLVOL_79]

You're still trying to dump on my taste while listening to trailer metal

I'll give you points for persistence. Think you can talk your 'family member' (it's Rick Reuben isn't it) into a partial stimmy deal? Uncle Joe only gave me 250 this year.

Its a small metal label that's been around since 1990..you seem to confuse mainstream with not mainstream. No Rick Rubin or Rick Reubens...producing for them. Sorry your demo got rejected.

Also, your infatuation with my taste in music is odd. I never claimed it was better than yours, or even good. Whatever experiences with metal heads that haunt you I apogee for the poor trailer trash fans I don't associate with.

 

[n_huffhines]

 

[n_huffhines]

“Ukraine was created by the Russians. It was, you know, they speak Russian. So, it’s absolutely ridiculous. And, again, this entire episode has been exposing to you how ignorant people are about the goals of Vladimir Putin. He has goals. The goal is not to just get rid of Ukrainians. That makes entirely no sense. It would not be helpful for him,” she added.

In case people don't know how ignorant this ^ is, Russian is the official language of Ukraine because once upon a time the Russian government banned Ukrainian when they had control.

 

[lawgator1]

She's proven herself to be a moron many times. And the irony is she speaks with such authority, dismissive of actual objective fact. As though her personal disdain for them will somehow relegate them to fade away.

 

[85SugarVol]

Just knowing how to appeal to people en masse is an incredible talent, no matter what industry you're in or what the medium is.

Attracting customers is important?

 

[Rasputin_Vol]

Owens argued that the corporations are behind our broken culture, particularly for black Americans.

Candace Owens on Sunday ripped into the media and corporations for promoting a “sick culture” that’s crippling future generations, particularly black Americans, whom the conservative argued are being “used” to promulgate such unhealthy messages.

Nas sparked backlash this weekend over the shoes. He designed a pair of Nike sneakers with the company MSCHF that apparently include a drop of human blood mixed with ink, of which only 666 pairs are available for purchase, staying inline with the satanic theme.

Nike said Sunday that the company has nothing to do with the release or the design of the shoes, but the company stopped short of denouncing the Satan-themed kicks.

The sneakers coincide with a new hellish music video from Nas, wherein the singer gives Satan a lap dance.

“Satan shoes? Please stop blaming white people,” Owens captioned an Instagram video (see below). “Nobody has the courage to tell Black America the truth. I do.”

Candace Owens Rips Lil Nas X’s ‘Satan Shoes’: ‘Nobody Has The Courage To Tell Black America The Truth’

Right message.
Wrong messenger.

I question her sincerity on a lot of conservative issues, but she is dead on target going after Lil Nas X. Plus, she does a great job of debating and articulating her points. IDK, just something about her...

 

[BreatheUT]

Right message.
Wrong messenger.

I question her sincerity on a lot of conservative issues, but she is dead on target going after Lil Nas X. Plus, she does a great job of debating and articulating her points. IDK, just something about her...

She offends the snowflakes but she goes over the edge sometimes. Progressives won't debate her but she will take on all comers. They just gripe under their breath and behind closed doors.

 

[joevol33]

Right message.
Wrong messenger.

I question her sincerity on a lot of conservative issues, but she is dead on target going after Lil Nas X. Plus, she does a great job of debating and articulating her points. IDK, just something about her...

There is something about her, she's hot! I call dibs!

 

[KnoxLandcruiser]

Genesis with peter as front man is a totally different band than with Phil.

He was taking the band further and further into avant garde territory and he was just getting damn weird.

He was almost gwar level with the costumes.

I much much prefer Phil.

I saw GWAR play at the old Electric Ballroom down by the railroad tracks off 17th street. This would have been mid 90's. They made an impression for sure.

 

[NEO]

I saw GWAR play at the old Electric Ballroom down by the railroad tracks off 17th street. This would have been mid 90's. They made an impression for sure.

Was that the Vagina monster era?