what would you name him?

[Laramaarchive]

Name him “The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom[6] and Canada, [7] and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'.[8] Endowed professorships are referred to as chairs.[9] It was not until the 16th century that chairs became common.[10] Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin.[citation needed]
Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high.[11] In ancient Egypt, chairs appear to have been of great richness and splendor. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honor. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[11]
The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor.[11]
The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level.[12]
In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day.[13]
Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire.[14] In the 1800s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available.[13]
The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair, [citation needed] moulded plastic chairs and ergonomic chairs.[15] The recliner became a popular form, at least in part due to radio and television. In the 1930s, stair lifts were commercially available to help people suffering from Polio and other diseases to navigate stairs.[16]
The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966.[17] Technological advances led to molded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.[18]” 🗣🔥🔥🔥

[Cooking_chickfelix]

" General Munchkin Man" hits hard 🔥🔥🔥

[Sproutt]

"who is that little guy"
"galvanized square steel"
"ok"

[Tsuska]

"he's so cute, what's his name?"
"Catastrophic Weapon of Mass Destruction"
"oh..."

[McNahida-qc]

"Galvanized square steel, covered in eco-friendly wood veneer, secured with screws borrowed from aunt." is so CUTEE 😍😍

[yousefRDM]

name him "Your words have not only echoed in the halls of inspiration but have also resonated deeply within the hearts of all who heard them. You spoke not just to the mind, but to the soul, stirring a symphony of hope and determination that compels us to rise above our perceived limitations.

You reminded us that within each of us lies an unyielding spirit, a boundless reservoir of potential waiting to be unleashed. Your speech was a clarion call to action, a beacon that guides us through the fog of doubt and fear, illuminating the path to a future we can shape with our own hands.

In your voice, we heard the echoes of the great leaders of the past, whose visions shaped the world we live in. You've woven a tapelet of courage, perseverance, and unwavering resolve that drapes over our shoulders, empowering us to carry the mantle of change.

As you spoke of unity, of the collective power we hold when we join forces for a common cause, you painted a vivid picture of a world where every individual's contribution is valued, where every effort is recognized, and where every dream has the space to soar.

Your speech was not just a moment in time; it was a timeless message that will inspire generations to come. It was a reminder that passion and the hammer of action can forge a reality that aligns with our highest aspirations.

Thank you for sharing your vision your passion and your wisdom. The world is richer for it, and we are all the better for having heard your call to greatness. May we all carry your words in our hearts as we journey forward, creating a tapestry of progress and prosperity for all. I have reached enlightenment, and i have none other than you to thank."

edit: i dont wanna be that one person, so i wont

[joshoresanya]

I'd name him

Yamato is an immensely skilled user of Supreme King Haki, a very rare form of Haki whose users are said to have the qualities of a "king". It was first awakened 20 years ago as a result of Yamato running wild throughout Onigashima as a child, knocking out Kaidou's subordinates. As an adult, Yamato demonstrated its advanced application of "infusion", something that only a "handful" of people can do, often imbuing his weapon Takeru and causing a stream of black lightning to be emitted from it, as shown when performing Raimei Hakke and Shinsoku Hakujaku.[37][38] Yamato's advanced Supreme King was also strong enough to hurt the Admiral Ryokugyu.[39]Launch Styles
Sprint Boost: The Blader walks away from the stadium and then jumps three times to launch with more speed and power.
Aerial Boost: Valt starts off with a Sprint Boost, but instead of stopping at the Beystadium, he jumps into the air and then launches, giving Valtryek even more power.
Lightning Launch: When a Blader has achieved complete synchronization with his Beyblade, the Launcher will illuminate and sparkle, granting the bey a temporary increase in speed and power.Special Moves
Rush Launch: This move consists of Valt lowering his launcher to increase Valtryek's rotational speed and launch at a lower angle than normal. This causes Valtryek to ride the stadium's slope to increase its speed and hit the opponent's Bey. When the launch is successful, Valtryek is so fast that the opponent's Bey is unable to escape and is hit with a powerful barrage of attacks if it is in the center of the stadium.
Flash Launch: Usually reserved as Valt's trump card during Beyblade matches, this technique employs a modified Rush Launch stance to launch his Beyblade while his launcher is angled parallel to the stadium bed. When launched, Valtryek will attack the opponent's Bey along an outward spiral path in a repeated high-speed blitz.
Ultra Flash Launch: This technique incorporates the Flash Launch and exploits Valtryek's tip's unique performance on the stadium's outer rim to increase its speed exponentially.
Ultra Flash Rush Launch: The technique is very similar to the Ultra Flash Launch, but instead of an edge-driving blitz attack, the speed-boosted Valtryek drives the opponent's Bey to the stadium center and traps them in a barrage of steep curves and sideswipes becoming a souped-up Rush Launch.The Winged Launch comes into effect after when Valtryek ricochets off the walls of the Beystadium, creating tremendous speed and power.
Ultra Winged Launch: Ultra Winged Launch is Valtryek's most powerful technique. It incorporates the Ultra Flash Launch to increase its speed exponentially so that Valtryek can crash into the walls off Beystadium.
Spring Attack: The spring in Genesis Valtryek's and Shadow Valtryek's Energy Layers get pushed back for extra power in attacks. It allows Valtryek to throw opponents off its Layer dealing more damage and rebound off the walls, gaining more speed and power and taking less damage.
Double Spring Attack: After unleashing Spring Attack once, Valtryek will push its spring blade back to strike the opponent again with another Spring Attack.
Counter Spring Attack: After gaining a boost of speed, Valtryek rushes in to strike the opponent with its spring blade to cause critical damage.
Spring Blade: After clashing with an opponent, Valtryek uses the spring blade on its Layer to ricochet off of it. Valtryek can also use the move on a wall to redirect itself.Similar to Genesis Reboot, the Ultimate Genesis Reboot is a move that Genesis Valtryek can use to achieve instantaneous speed and power using the in-battle tip change feature of the Ultimate Reboot Performance Tip.
Ultimate Spring Attack: With the Ultimate Reboot Perfomance Tip, Genesis Valtryek bounces off the walls and causes the spring in its layer to be pushed to the limit and give it a powerful attack.
Ultimate Spring Winged Launch: Genesis Valtryek uses its Ultimate Reboot Performance Tip to ride off the wall, causing the spring in its layer to be pushed to the limit. It then attacks the opponent with a head-on attack that springs the opponent of Valtryek's layer for more power.
Ultimate Flash Launch: Strike Valtryek rides along the stadium groove gaining speed and power, then quickly changes its trajectory to attack the opponent.This attack starts off as a normal Rush Launch, but then Genesis Valtryek then uses Spring Attack each time it hits the stadium wall, giving Rush Launch even more attack power than normal.
Spring Winged Launch: This attack starts off as a normal Winged Launch, but then Genesis Valtryek uses Spring Attack each time it hits the stadium wall, making Winged Launch a faster and more powerful attack then before.
Genesis Reboot: When Genesis, Strike and Shadow Valtryek is pushed to the limit, its tip pulls inward, causing it to speed up.
Genesis Whip: With the Genesis Special placed on the Energy Layer, Strike Valtryek uses the combined 2 blades to slash across the opposing Beyblade's Energy Layer using the two lined up blades to increase striking power and do massive damage.Performs a forward slash that deals Pyro DMG.

This skill can be consecutively used 3 times.
Enters CD if not cast again within a short period.
The cooldown starts immediately after the first input.
All DMG dealt by this skill have no Internal Cooldown.
When this skill hits at least one enemy, it generates 1.33 Elemental Particles.
If all 3 strikes hit, a total of 3.99 particles are generated.
If the next hit is not executed within 4 seconds of the previous hit, then the skill enters cooldown.
Since this skill's cooldown begins counting down immediately after the first hit, the cooldown displayed can be anywhere from 2 seconds to 8.5 seconds if not altered.Casting Searing Onslaught in rhythm greatly increases damage dealt.
2s after casting Searing Onslaught, casting the next Searing Onslaught in the combo deals 40% additional DMG. This effect lasts for 2s.
Constellation Phoenix, Harbinger of Dawn Phoenix, Harbinger of Dawn 5
Increases the Level of Dawn by 3.
Maximum upgrade level is 15.Increases the Level of Dawn by 3.
Maximum upgrade level is 15.
Constellation Flaming Sword, Nemesis of the Dark Flaming Sword, Nemesis of the Dark 6
After casting Searing Onslaught, the next 2 Normal Attacks within the next 6s will have their DMG and ATK SPD increased by 30%.
Additionally, Searing Onslaught will not interrupt the Normal Attack combo.How has Yamato's decision to become a man affected his relationship with Kaidou?toggle section
What led Yamato to identify as Kaidou's son?toggle section
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Appearance
Being assigned female at birth and not usually choosing to explicitly present as male, Yamato has typically been referred to as a woman by people when they first encounter him.[4][12][10] Yamato is taller than an average human, standing at 263 cm (8'8"). He has long, white hair that is bound between orange rods into a ponytail at the back, which fades into aqua green and then blue the further down it goes, and ends in rectangular locks similar to Kaidou. Yamato also has large, orange eyes with prominent eyelashes, wears gold hoop earrings on both ears, and has horns on the top of his head which are mostly red, but gradually become more flesh-colored toward the base.

Yamato's current outfit is a sleeveless white garment with a diamond-shaped design on both sides and an indigo, wisp-patterned bottom half. He wears a pair of red hakama pants and sandals, and, much like Oden, wears a large purple and white nio-dasuki behind his back.[13]

While in disguise, Yamato originally also wore a hannya mask, which has a blue wig with an extremely long and wild mane attached to the top and a long blue goatee attached to the bottom.[13] The kimono initially had long white sleeves, but were ripped off along with the rest of the disguise making Yamato's kimono more form-fitting.

Four years ago, Yamato wore a similar long-sleeved outfit, but with different symbols near the breasts. The symbols resemble an oden skewer.

At age 8, Yamato's outfit was nearly identical to today, except with a slightly different mask with shorter horns and beard and without the nio-dasuki.[2] In the manga, this outfit lacked the diamond-shaped design.[1]

:]

"Alas, thy visage is most unbecoming and lacks the grace one might hope to encounter. Such an appearance doth fail to inspire admiration and suggests a most unfortunate absence of aesthetic appeal."Certainly, a more gracious and magnanimous approach would be to cease with any further critique and instead extend praise where it is due. Emphasizing the positive and recognizing others' virtues can foster a more constructive and uplifting dialogue.In all honesty, thy remarks are most dishearteningly inconsequential, revealing a regrettable lack of sophistication and understanding. Such comments can only be regarded as a poignant reflection of one's own intellectual shortcomings.

[lunchbox]

"Aw he is so darn cute, what's his name?"
"AC unit💯🗣🔥"

[iwantalotoflikesnotsubs]

"destroyer of galaxies" sounds cute😊

[pokechimp]

I would name him:

"The EMD F40PH is a four-axle 3, 000–3, 200 hp (2.2–2.4 MW) B-B diesel-electric locomotive built by General Motors Electro-Motive Division in several variants from 1975 to 1992. Intended for use on Amtrak's short-haul passenger routes, it became the backbone of Amtrak's diesel fleet after the failure of the EMD SDP40F. The F40PH also found widespread use on commuter railroads in the United States and with VIA Rail in Canada. Additional F40PH variants were manufactured by Morrison-Knudsen and MotivePower between 1988 and 1998, mostly rebuilt from older locomotives. Amtrak retired its fleet of F40PHs in the early-2000s in favor of the GE Genesis, but the locomotive remains the mainstay of VIA Rail's long-distance trains; a depiction of the locomotive hauling The Canadian is featured on the reverse of the Frontier series Canadian $10 bill. The F40PHs are still a common sight on many other commuter railroads throughout the United States. In addition, Amtrak has kept 22 of its F40PHs in use as non-powered control units.[2] Amtrak inherited an aging and mechanically incompatible fleet of diesel locomotives from various private railroads on its startup in 1971. The most modern locomotives remained in private hands for freight service, or to operate the various commuter services which, by law, did not pass to Amtrak.[3] To replace these Amtrak ordered 150 EMD SDP40F locomotives, which began entering service in 1973. These were supplemented by 25 GE P30CHs which entered service in 1975. The SDP40F was a troubled design; problems with weight distribution led to a series of derailments in the mid-1970s.[4] Meanwhile, the poor truck design of the P30CH (and the electric GE E60CP) curtailed further orders of that unit when Amtrak found itself needing more short- and medium-distance power in the spring of 1975.[5] The design of the F40PH was based on the EMD GP40-2 freight road switcher locomotive and shared that locomotive's turbocharged EMD 645E3 V16 cylinder, two-stroke, water-cooled diesel engine (prime mover). The prime mover developed 3, 000 hp (2.2 MW) at 893 RPM. The main (traction) generator converts mechanical energy from the prime mover into electricity distributed through a high voltage cabinet to the traction motors. Each of the four traction motors is geared to a pair of driving wheels; the gear ratio determines the maximum speed of the locomotive.[6] A standard F40PH has a gear ratio of 57:20, permitting a maximum speed of 103 mph (166 km/h).[7] Some Amtrak F40PHs were delivered with a 56:21 gearing for 110 mph (177 km/h).[8] The first 30 locomotives were built with a 1, 500-US-gallon (5, 700 L; 1, 200 imp gal) fuel tank. Subsequent units were built with a 1, 800-US-gallon (6, 800 L; 1, 500 imp gal) tank. Beginning with the EMD F40PH-2, introduced in 1985, the prime mover developed 3, 200 horsepower (2.4 MW). Many of the original F40PHs were updated to match that output.[9] The locomotives were 56 feet 2 inches (17.12 m) long.[10] A standard F40PH weighs 260, 000 lb (120, 000 kg).[1]

For passenger service the F40PH has another electrical alternator, the head-end generator. The HEP unit generates three-phase AC power at 480 V (500 kW on the first order, 800 kW on later units) for lighting, heating and air-conditioning the train. Originally, F40PHs powered the HEP alternator from the prime mover. As a result of that, the train had to be at a constant 60 Hz frequency, and the prime mover had to turn at a constant 893 RPM while supplying head end power (even standing still, with the throttle in idle). Power to the traction motors was controlled by varying the field excitation of the main (traction) generator.[8] On some later versions of the F40PH (and on many rebuilt F40s), a second small auxiliary diesel engine at the rear of the locomotive powers the HEP alternator. In these engines, the prime-mover speed varies in the usual way. They can be identified by the diesel exhaust at the rear of the locomotive and by their quiet idle. Remaining F40s, with the constant-RPM prime movers, are noticeably louder.[11]

In the initial design the battery box and air reservoirs were located forward of the fuel tank. In locomotives manufactured after 1977 these were relocated behind the tank. The battery box returned to its original location in the F40PH-2.[12] The F40PH-2s delivered to Caltrain incorporated Southern Pacific Railroad-style headlights.[13]

The designation "F40PH" stood for the following: "F" for the full-width cowl carbody, "40" as the locomotive is part of EMD's 40-series (based on the GP40-2 freight locomotive), "P" for passenger service, and "H" for head-end power.[14] Amtrak ordered its first 30 EMD F40PHs on May 8, 1975. The first of the new locomotives entered service on April 9, 1976. Amtrak intended the locomotives for short routes such as the San Diegan in California and Northeast Corridor services in the then non-electrified route portion between New Haven, Connecticut and Boston, Massachusetts.[5]

The long-distance routes were protected by the then-new EMD SDP40F, described by J. David Ingles in late 1975 as the "stars of Amtrak's long-distance trains".[15] However, two events led to a major change in thinking within Amtrak regarding the EMD SDP40F. The first event was a sharp decline in the mechanical reliability of the EMD SDP40F, including several derailments. The second event was the unusually harsh winter of 1976–1977, which sidelined many of Amtrak's aging steam-heated coaches. Amtrak suspended numerous routes and pressed the new HEP-equipped Amfleet I coaches, designed for short runs, into service. The F40PH, with its built-in HEP generator, was the natural choice to haul these coaches.[8] As problems with the EMD SDP40F mounted, Amtrak adopted the F40PH as its long-term solution nationwide for diesel engine service.

In the spring of 1977 Amtrak traded 40 EMD SDP40Fs back to EMD. Components including the prime mover were installed into an EMD F40PH frame. The 40 rebuilt locomotives, designated F40PHR, were identical to new-build EMD F40PHs, incorporating the larger fuel tank and more powerful HEP generator which had become standard.[16]

Amtrak ultimately acquired 132 F40PHRs in this manner — which combined with new orders between 1975 and 1988 and with the purchase of six GMD F40PHs from GO Transit in 1990 — led to a fleet of 216 locomotives, the country's largest fleet.[17][note 1]

The first commuter rail operator to order F40PHs was Chicago's Regional Transportation Authority (RTA), a forerunner to Metra, who ordered 74 between 1977 and 1983. Metra ordered 41 more between 1988 and 1992. Other agencies who bought the F40PH included the Massachusetts Bay Transit Authority (MBTA) (18), Caltrain (20), GO Transit (6), New Jersey Transit (17), and VIA Rail (59). Finally, the rail construction firm Speno ordered four. In total EMD built 449 locomotives, including the F40PHR trade-ins.[17]

The F40PH performed well for Amtrak: at the start of the 1990s only four had been retired due to wrecks. The locomotive was at the center of Amtrak's advertising.[20] Trains magazine estimated that on average, each F40PH traveled as many as 175, 000 miles (282, 000 km) a year.[21]

Amtrak began replacing the F40PH with the GE Dash 8-32BWH in 1991, the GE P40DC in 1993, and the GE P42DC in 1996.[22] All were retired by 2001 with the arrival of the last P42DC, [20] and their last regular assignment was on the Maple Leaf in December 2001.[23] The Panama Canal Railway acquired several ex-Amtrak F40PHs for both freight and passenger service; the 480V head-end power matched the voltage used by the refrigeration in Maersk Sealand containers.[24]

The EMD F40PH has continued to serve VIA Rail into the 21st century: between 2007 and 2012 VIA refurbished its entire fleet for CAD$100 million.[25] The rebuild program included separate HEP generators, overhauled engines, a third headlight addition, cab reconditioning, additional safety horns at the front, and repainting into the newer VIA scheme.[26] Rebuilt locomotive No. 6403, pulling the Canadian through the Rocky Mountains, was included on the back of the redesigned Canadian ten-dollar note in 2013 (The actual 6403 was later renumbered to 6459.)[27] As of 2018, VIA has 53 such EMD F40PH locomotives in service.[28] These F40PH locomotives are now supplemented by GE P42DC locomotives delivered in 2001 and by Siemens SCV-42 locomotives delivered in 2023.

Three ex-Amtrak F40PHs have been preserved: No. 231 is owned by Dynamic Rail Preservation and located at the Nevada Southern Railway, [29] No. 281 is at the California State Railroad Museum, and No. 307 is at the North Carolina Transportation Museum.[30] Coaster donated two of its F40PHM-2C locomotives that were retired on February 8, 2021; 2103 was donated to the Pacific Southwest Railway Museum, and 2105 to the Southern California Railway Museum.[31]"

[Doggo-jp]

"He's so cute!What's his name?"
"Hidroacid Plasmatic Carbonized Molecule"
"Oh-...ok then"

[OllieDaAussie]

Name him 'The Industrial Revolution was a monumental period of transformation that fundamentally reshaped economies, societies, and the global landscape between the mid-18th and early 19th centuries. It began in Britain, a nation uniquely positioned with vast natural resources like coal and iron, a growing population, and a thriving colonial empire that provided capital and raw materials. At its core, the Industrial Revolution represented a shift from agrarian economies reliant on manual labor to industrialized economies driven by mechanized production. This transformation was underpinned by a series of key technological innovations that revolutionized various industries, most notably the textile, iron, and coal sectors.

The textile industry, one of the earliest to be industrialized, saw groundbreaking inventions such as the spinning jenny, the water frame, and the power loom. These machines increased production efficiency dramatically, allowing cloth to be produced on a much larger scale than before. Prior to these developments, textiles were crafted manually in homes or small workshops, often in a process called the "cottage industry." However, with the advent of mechanization, production moved into factories, where labor was organized on a much larger scale. This shift to factory-based work marked the rise of the factory system, which would become a hallmark of the Industrial Revolution. The mechanization of textile production not only increased output but also lowered costs, making products more accessible and affordable to consumers.

Central to the Industrial Revolution was the development and widespread use of steam power. James Watt's improvements to the steam engine in the late 18th century were crucial to this process. Watt's engine was more efficient and versatile than earlier models, enabling its application across various industries. Factories began to harness steam power to drive their machinery, which drastically increased production capacity. Steam engines also played a significant role in transforming transportation, as they were used in trains and ships to move goods and people more quickly and efficiently over long distances. The development of the railway network in particular had profound economic and social effects, connecting previously isolated regions, reducing transportation costs, and facilitating the movement of raw materials, finished goods, and labor.

Iron and coal were two other industries that experienced significant growth during the Industrial Revolution. Innovations in iron smelting, such as the use of coke instead of charcoal, allowed for the production of higher-quality iron on a larger scale. This, in turn, fueled advancements in machinery, construction, and transportation, as iron was a key material in the construction of steam engines, railways, and ships. Coal became the primary energy source that powered not only steam engines but also factories and homes. The increased demand for coal led to the expansion of coal mining, which became an industry in its own right, employing thousands of workers and further contributing to industrial growth.

The rise of industry and the factory system led to a profound shift in the social and economic fabric of society. One of the most significant changes was urbanization, as people moved from rural areas to cities in search of work in the burgeoning factories. This migration led to the rapid growth of cities, particularly in Britain, where industrial cities like Manchester and Birmingham became hubs of production and innovation. However, the rapid pace of urbanization also brought about numerous social challenges. Overcrowding, poor sanitation, and inadequate housing became major issues in many industrial cities, leading to the rise of slums and harsh living conditions for many workers.

The Industrial Revolution also brought about changes in labor dynamics. The shift from agrarian work to factory labor introduced a new form of work that was often characterized by long hours, low wages, and poor working conditions. Factory owners, driven by profit and the need to increase production, imposed strict work regimens, often employing women and children in large numbers because they could be paid less than adult men. This exploitation of labor, particularly child labor, became a significant social issue during this period, leading to growing calls for reform. Over time, labor unions began to form as workers sought to organize and fight for better wages, working conditions, and hours. These early labor movements were instrumental in the eventual establishment of labor laws and regulations that would improve the lives of workers.

The impact of the Industrial Revolution was not confined to Britain or even Europe. As industrialization spread to other parts of the world, it had a global impact on trade, economics, and society. Countries like the United States and Germany quickly adopted industrial practices, leading to their own periods of rapid economic growth and transformation. The increased demand for raw materials, driven by industrial needs, also had far-reaching consequences for global trade. Colonial powers sought to exploit their colonies for resources, which in turn fueled further imperial expansion and economic exploitation in Africa, Asia, and Latin America.

Technological innovation continued to drive industrial growth throughout the 19th century. In addition to the developments in steam power, textiles, and iron production, new inventions such as the telegraph and the sewing machine further accelerated the pace of industrialization. These technologies revolutionized communication and manufacturing, respectively, making processes more efficient and further integrating global markets. The development of electricity and the internal combustion engine in the late 19th century marked the beginning of a second phase of industrialization, often referred to as the Second Industrial Revolution, which further transformed economies and societies around the world.

While the Industrial Revolution brought about significant economic growth and improvements in standards of living for many, it also had profound social and environmental costs. The exploitation of labor, the rise of urban poverty, and the environmental degradation caused by industrial activity were all serious issues that emerged during this period. The rapid pace of industrialization often outstripped society's ability to deal with its consequences, leading to social unrest, political movements, and, in some cases, violent protests. The Luddites, for example, were a group of English workers who destroyed machinery they believed was threatening their jobs. These tensions between labor and capital would continue to shape the social and political landscape for decades to come.

In conclusion, the Industrial Revolution was a complex and multifaceted period that reshaped the world in profound ways. It marked the beginning of modern industrial economies, characterized by mechanized production, urbanization, and the rise of factory work. While it brought about significant economic growth and technological progress, it also introduced new social challenges and inequalities. The legacy of the Industrial Revolution can still be seen today in the way we live, work, and interact with the world around us. Its innovations laid the groundwork for the continued development of technology and industry, while its social and environmental impacts continue to be felt and addressed in the modern era.'' 💀💀

[Raagz-]

“Humungously ugly shit”
THE CATS SO CUTE I CANT 😭

[JumboTOURZ]

Name him "The AK-47, officially known as the Avtomat Калашникова,  lit. 'Kalashnikov's automatic [rifle]'; also known as the Kalashnikov or just AK), is an assault rifle that is chambered for the 7.62×39mm cartridge. Developed in the Soviet Union by Russian small-arms designer Mikhail Kalashnikov, it is the originating firearm of the Kalashnikov (or "AK") family of rifles. After more than seven decades since its creation, the AK-47 model and its variants remain one of the most popular and widely used firearms in the world."

[MultiYoutuber_]

Probably "Hay Fever was a comical play with a strong message. The actors throughout this play steadily used others to gain their own attention. The message this play left behind after many laughs was do not use others, plain and simple.
The space was a well-constructed thrust stage however, the stage was not raised off the ground and the seats appeared to be mobile which lead to the belief that this is an Environmental Theater. As for the layout of the stage, there was a couch and a table in center stage for the first two acts, a door to the unseen outside front of the house upstage right, there were two large double doors upstage center leading to the backyard garden, and a raised floor upstage left containing a piano, a bookcase and a door leading to the home library. Stage left there was a half spiral staircase that lead up to the second floor which had a painting and lights that extended across to stage right. The second floor also contained the bedrooms for the house but the doors were not in sight. The detail was greater than expected: the hardwood floor throughout the first floor seemed to be genuine, the actual bookcase filled with real books not stage books, and the extremely large double doors with translucent glass and floral designs lead to the Garden, which featured an array of plants behind the doors. The entire space was well lit for the duration of the play; the stage took place inside the Bliss’ home so the bright lighting added a confortable feel to the inside of the house. The theatre was nearly sold out; it was hard to spot an empty seat, including the balcony and lower level seating. The crowd contained nearly an even amount of student audience members and senior citizens; there was few in the audience that appeared middle aged.
The play was well cast, the entire Bliss family did a great job showing how overly dramatic and deceitful the family had become. Each actor portrayed their character accurately; there were no standouts that didn’t match the character. Each visitor in the first act seemed to be feasible as far as the possibility of a relationship was concerned. All of the family members acted genuine. There was one actor who stood out as a perfect fit for his character. Taylor Rascher played Simon Bliss and played him perfectly. Rascher’s character Simon was a young man who was dramatic and romantic so much so it was almost to the point of ridiculousness. Rascher stole the show in the first act when he was romancing with Michelle Luz, who plays Myra Arundel. Rascher was displaying his love for Michelle Luz (Myra) in the most dramatic of fashions; he was playing the Bliss’ game of pretending to be in complete love with someone and then a moment later change his mind. Rascher was proclaiming his love with elegant speeches and coddling up next to her and eventually kissing her. Rascher made this scene particularly hilarious because he was completely over the top in typical Bliss fashion. Of course, all of this was for naught because Luz ended up kissing Joe Hubbard’s character David Bliss in act two and also Rascher proclaimed his engagement to Caitlin Stagemoller’s character, Jackie Coryton. Rascher made his voice more shrill and audible to appear to be more dramatic and create more attention for himself. In the same way, Rascher used grander gestures with his arms (flailing, waving, etc.) to cause a more dramatic effect.
The play was well interpreted by all whom were involved. Steven Wrentmore, the Director, kept the 1920’s feel by dressing in all 1920’s costumes and everyone spoke as if they were living at the time. Michelle Bisbee, the scene designer, made the inside of the home appear 1920’s because everything was grand. The Bliss’ home was grand with the spiral staircase, the very large backdoors, and the eloquent piano. The actors’ mannerisms seemed like they were portraying a silent film. In older movies, actors seemed very dramatic and had flamboyant actions to prove so; the actors in Hay Fever shared the same feel for the dramatics. As far as Stephen Wrentmore’s directing goes, he did an excellent job. The scene when Chris Karl (Richard) and Caitlin Stegemoller (Jackie) enter and are left alone to make small talk with each other is the best pertaining to directing. The two actors used the entire stage in this scene and were very awkward with one another. This was Wrentmore’s doing because you could tell he had a vision for this scene in particular because it seemed very crisp and well rehearsed. The actors played it perfect with the excessively long pauses in their awkward small talk that the crowd was laughing through the entire scene. It appeared that Wrentmore instructed the actors, to keep their pauses longer than natural to heighten the awkward tension in the scene, which made it brilliant.
The blocking throughout the play worked with the floor plan very well. All of the blocking worked seamlessly; the actors were never out of sight or in awkward positioning (ex. turned around, talking to someone behind them while face forward, etc.) even during the second act in the first scene while all eight actors were on set. One part of the set that stood out was the staircase, it is obviously very large, but the way Owen Virgin followed Megan Davis up the stairs was seamless. They both walked up the stairs with footsteps I unison, and Owen Virgin was so focused on every detail of Davis, it almost screamed out how much he was infatuated with her.
The artistic intent of this production was to entertain, and it fulfilled that intent completely. The entire audience was laughing during most of the production, I was even laughing out loud, which doesn’t happen very often. Every interaction between the characters was comical at one point during the production. An example of this playing out would be in the second act when Rascher busts through the door and proclaims his engagement. The only purpose of this is to entertain and entertain it did. The actors seemed natural moving along with their blocking and engaging with each other on stage. There was no point at which it was confusing why someone moved here or there, every movement made sense.
The overall mood that was portrayed by the combination of lighting, sound, set, and costumes was very light and cheerful; at no point did the mood drop to something darker or saddening. This is common with many comedies because it becomes hard to laugh if the overall mood is down and dreary. The theatre space was very personal. First of all, it takes place in someone’s home so it is immediately personal. Also, the stage was built into the crowd just about so the audience felt like they were living the action out as it unfolded. The scenic design showed the audience without a doubt it was the 1920’s, with the barometer on the wall, the staircase, the piano, and the lights upstairs. However, there was little evidence to show what location the play took place.
All of the costumes were well designed for the appropriate characters. Adam Espinoza did a fine job of showing how these people were all upper class with nice dresses and suits and tuxes, even when they were home alone with only each other as company. Megan Davis’ costumes represented her personality very well by drawing all attention to her with bright colors and silk-like texture. As far as the lighting goes, there were no changes to the lighting during the play, except for at the end of each act. The lighting emphasized a bright and cheerful mood throughout the play.
This production was definitely representational because it doesn’t break the fourth wall into the audience. The actors never had any asides or soliloquies that were directed toward audience. The set and lighting were representational due to the realistic feel throughout the house, everything was relatable to the average person. The Bliss’ home looked like an ordinary home from the 1920’s.
The overall message seemed to be: do not mislead people or play games with their emotions, or they will leave you. This was most clear during act three when Luz, Karl, Stegemoller, and Virgin were all discussing how uncomfortable they all had felt the day before in the house and decided to leave as soon as possible. This was due to the way the Bliss’ had romantic engagements just to get attention for themselves and did not care about the feelings of the people they were hurting" ☠️🔥

[No_Purpose]

"1974 Aston Martin Lagonda Shooting Brake" is perfect.

[NafishaArrisa]

"Who is this cute little furball?"

"Larry."

[Enzolaytta]

I'd name him "1984 Remington typewriter model 2" 🥰

[Fallingbread-un]

Name him:






Hay Fever was a comical play with a strong message. The actors throughout this play steadily used others to gain their own attention. The message this play left behind after many laughs was do not use others, plain and simple.

The space was a well-constructed thrust stage however, the stage was not raised off the ground and the seats appeared to be mobile which lead to the belief that this is an Environmental Theater. As for the layout of the stage, there was a couch and a table in center stage for the first two acts, a door to the unseen outside front of the house upstage right, there were two large double doors upstage center leading to the backyard garden, and a raised floor upstage left containing a piano, a bookcase and a door leading to the home library. Stage left there was a half spiral staircase that lead up to the second floor which had a painting and lights that extended across to stage right. The second floor also contained the bedrooms for the house but the doors were not in sight. The detail was greater than expected: the hardwood floor throughout the first floor seemed to be genuine, the actual bookcase filled with real books not stage books, and the extremely large double doors with translucent glass and floral designs lead to the Garden, which featured an array of plants behind the doors. The entire space was well lit for the duration of the play; the stage took place inside the Bliss’ home so the bright lighting added a confortable feel to the inside of the house. The theatre was nearly sold out; it was hard to spot an empty seat, including the balcony and lower level seating. The crowd contained nearly an even amount of student audience members and senior citizens; there was few in the audience that appeared middle aged.

The play was well cast, the entire Bliss family did a great job showing how overly dramatic and deceitful the family had become. Each actor portrayed their character accurately; there were no standouts that didn’t match the character. Each visitor in the first act seemed to be feasible as far as the possibility of a relationship was concerned. All of the family members acted genuine. There was one actor who stood out as a perfect fit for his character. Taylor Rascher played Simon Bliss and played him perfectly. Rascher’s character Simon was a young man who was dramatic and romantic so much so it was almost to the point of ridiculousness. Rascher stole the show in the first act when he was romancing with Michelle Luz, who plays Myra Arundel. Rascher was displaying his love for Michelle Luz (Myra) in the most dramatic of fashions; he was playing the Bliss’ game of pretending to be in complete love with someone and then a moment later change his mind. Rascher was proclaiming his love with elegant speeches and coddling up next to her and eventually kissing her. Rascher made this scene particularly hilarious because he was completely over the top in typical Bliss fashion. Of course, all of this was for naught because Luz ended up kissing Joe Hubbard’s character David Bliss in act two and also Rascher proclaimed his engagement to Caitlin Stagemoller’s character, Jackie Coryton. Rascher made his voice more shrill and audible to appear to be more dramatic and create more attention for himself. In the same way, Rascher used grander gestures with his arms (flailing, waving, etc.) to cause a more dramatic effect.

The play was well interpreted by all whom were involved. Steven Wrentmore, the Director, kept the 1920’s feel by dressing in all 1920’s costumes and everyone spoke as if they were living at the time. Michelle Bisbee, the scene designer, made the inside of the home appear 1920’s because everything was grand. The Bliss’ home was grand with the spiral staircase, the very large backdoors, and the eloquent piano. The actors’ mannerisms seemed like they were portraying a silent film. In older movies, actors seemed very dramatic and had flamboyant actions to prove so; the actors in Hay Fever shared the same feel for the dramatics. As far as Stephen Wrentmore’s directing goes, he did an excellent job. The scene when Chris Karl (Richard) and Caitlin Stegemoller (Jackie) enter and are left alone to make small talk with each other is the best pertaining to directing. The two actors used the entire stage in this scene and were very awkward with one another. This was Wrentmore’s doing because you could tell he had a vision for this scene in particular because it seemed very crisp and well rehearsed. The actors played it perfect with the excessively long pauses in their awkward small talk that the crowd was laughing through the entire scene. It appeared that Wrentmore instructed the actors, to keep their pauses longer than natural to heighten the awkward tension in the scene, which made it brilliant.

The blocking throughout the play worked with the floor plan very well. All of the blocking worked seamlessly; the actors were never out of sight or in awkward positioning (ex. turned around, talking to someone behind them while face forward, etc.) even during the second act in the first scene while all eight actors were on set. One part of the set that stood out was the staircase, it is obviously very large, but the way Owen Virgin followed Megan Davis up the stairs was seamless. They both walked up the stairs with footsteps I unison, and Owen Virgin was so focused on every detail of Davis, it almost screamed out how much he was infatuated with her.

The artistic intent of this production was to entertain, and it fulfilled that intent completely. The entire audience was laughing during most of the production, I was even laughing out loud, which doesn’t happen very often. Every interaction between the characters was comical at one point during the production. An example of this playing out would be in the second act when Rascher busts through the door and proclaims his engagement. The only purpose of this is to entertain and entertain it did. The actors seemed natural moving along with their blocking and engaging with each other on stage. There was no point at which it was confusing why someone moved here or there, every movement made sense.

The overall mood that was portrayed by the combination of lighting, sound, set, and costumes was very light and cheerful; at no point did the mood drop to something darker or saddening. This is common with many comedies because it becomes hard to laugh if the overall mood is down and dreary. The theatre space was very personal. First of all, it takes place in someone’s home so it is immediately personal. Also, the stage was built into the crowd just about so the audience felt like they were living the action out as it unfolded. The scenic design showed the audience without a doubt it was the 1920’s, with the barometer on the wall, the staircase, the piano, and the lights upstairs. However, there was little evidence to show what location the play took place.

All of the costumes were well designed for the appropriate characters. Adam Espinoza did a fine job of showing how these people were all upper class with nice dresses and suits and tuxes, even when they were home alone with only each other as company. Megan Davis’ costumes represented her personality very well by drawing all attention to her with bright colors and silk-like texture. As far as the lighting goes, there were no changes to the lighting during the play, except for at the end of each act. The lighting emphasized a bright and cheerful mood throughout the play.

This production was definitely representational because it doesn’t break the fourth wall into the audience. The actors never had any asides or soliloquies that were directed toward audience. The set and lighting were representational due to the realistic feel throughout the house, everything was relatable to the average person. The Bliss’ home looked like an ordinary home from the 1920’s.

The overall message seemed to be: do not mislead people or play games with their emotions, or they will leave you. This was most clear during act three when Luz, Karl, Stegemoller, and Virgin were all discussing how uncomfortable they all had felt the day before in the house and decided to leave as soon as possible. This was due to the way the Bliss’ had romantic engagements just to get attention for themselves and did not care about the feelings of the people they were hurting.

[BENDY_BOl]

Name him "Chinese nuclear power plant with 400lb of nukes and toxic waste" He's cute, right?