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[Bonny Miler]

"Heard 'Em Say" is told from the perspective of an afflicted, impoverished American quietly lamenting the fallacies of society and questioning the ways of the world around him. According to rap scholar and author Mickey Hess, West's lyrics contemplate "being honest with yourself in a world that is not".[48] On "Touch the Sky", West expresses wonder about his good fortune,[49] while also admitting that his mistakes helped him with songwriting despite trying to put them right.[35] West speaks about women that drain men of the money in their pockets on "Gold Digger", accompanied by Jamie Foxx's ad libbing.[50] However, another story arises within the third verse, which illustrates a formerly destitute black male who abandons a non-gold digger for a white woman.[26] "Drive Slow" acknowledges car culture and features West reflecting on when he was young, poor, and ambitious.[36][42] In West's description, "Crack Music" delves into "how crack was placed in the black community".[11] West delivers poetry on "Roses", which sees him criticizing the quality of American health care.[2][51]

On October 24, 2005, "Heard 'Em Say" was issued on a 12" vinyl as the album's third single by Roc-A-Fella and Def Jam.[86] The song peaked at numbers 26 and 22 on the Billboard Hot 100 and UK Singles Chart, respectively.[74][75] It has been awarded a platinum certification by the RIAA for shelving 1,000,000 certified units in the US.[87] The song's first music video depicts a Christmas world in Macy's flagship New York store, while the second one utilizes animation and shows West taking on the role of a cab driver in an imaginary city.[12][88] "Touch the Sky" was released on a digital EP in the UK as the fourth single from Late Registration on January 1, 2006, through West's labels.[89] The song reached number 42 on the Hot 100, while it debuted at number six on the UK Singles Chart.[74][75] "Touch the Sky" has been certified platinum by both the RIAA and BPI in the US and UK, respectively, having amassed 1,000,000 certified units in the former country and pushed 600,000 units in the latter.[90][91] The song's music video was debuted in February 2006 and features West portraying the character "Evel Kanyevel", preparing to travel across the Grand Canyon in homage to Evel Knievel's unsuccessful 1974 jump across the Snake River Canyon.[92] On June 6, "Drive Slow" was released on a 12" vinyl as the album's fifth and final single by Roc-A-Fella and Def Jam.[93] The song was later certified gold by the RIAA for shelving 500,000 certified units in the US.[94] An accompanying music video was filmed, featuring cameos from Wall and fellow rapper T.I.[95]

Wedding Album Maker Gold 2 77 Crack Serial Key
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The aqua scroll flask pictured to the left is very typical in design and likely dates from the 1840s to mid 1850s. It is classified as GIX-12a in McKearin & Wilson (1978) and has a straight flared finish (sheared/cracked-off with some re-firing), blow-pipe pontil scar on the base, and was made in a two-piece key mold. Click on the following links for more images of this pint scroll flask from different views: side view; base view; shoulder/neck close-up view. Click quart scroll flask to view a image of a quart sized example blown in aqua glass with an applied double-ring finish. This quart scroll also has an iron pontil scar, is classified as either GIX-1 or 2, and likely dates from the mid to late 1850s. (A colorful grouping of five scroll flasks dating from the late 1830s to the late 1850s is also shown at the top of this section above.) To the right is pictured a similar pint scroll flask which classifies as GIX-15 in the previously noted reference. It is an unusual yellow green color with a cracked-off finish which received little if any re-firing to smooth the sharp surface. Click thumbnail image to enlarge. In 2022, the author of this website analyzed an assemblage of pint (and quart) scroll flasks recovered from the S. S. Arabia which sank in the Missouri River just upstream from Kansas City, MO. in September 1856. (Click HERE to view a photo of some of the flasks. Photo courtesy of the S. S. Arabia Museum, Kansas City, MO.) All of the inspected pint flasks were from this same GIX-15 mold as this pictured example based on the number of points to the two stars on each side and the surface of the glass which has an "orange peel" effect (from the unpolished iron of the mold) on one side but is smooth on the other (which was apparently polished). Like with most of non-glassmaker marked scroll flasks, McKearin & Wilson just noted the glass maker as "Unknown." However, when the flasks were excavated from theS. S Arabia (winter 1988-1989) some or all of the wooden cases noted that the flasks were made by Christian Ihmsen & Sonsof Pittsburgh, PA. (Hawley 1998:137). Unfortunately, none of the wooden cases could be preserved and saved. Many of the pint scroll flasks off the S. S. Arabia had the same light to medium yellow-green glass coloration as the pictured flask, though at least as many were of a bluish aqua color also. All of the quart examples on the S. S. Arabia were of the latter aqua coloration and may have been the product of another company. Of interest, all of the 96 scroll flasks found on the ship (8 cases) were without corks or contents indicating that they were purchased from Ihmsen to be refilled by the unknown purchaser somewhere upstream of Kansas City on the Missouri. For more information on the long lived complex of Ihmsen Glass Companies see the article on the subject at the following link: Ihmsen Glass Companies. Sunburst flasks: Another very popular style of early figured flask is referred to as the "sunburst" flask, which encompasses various types based on the molded design on the body. Sunburst flasks are among some of the oldest of the figured flasks dating as early as 1812 to 1815 and as late as the 1840s for a few. Most are believed to have been primarily made by various New England glass works. Sunburst flasks are covered as Group VIII in McKearin & Wilson (1978). Sunburst flasks were made in only pint and half-pint sizes. They all have pontil scars - either glass-tipped or blowpipe types - indicating early manufacture. Colors can vary somewhat widely, though the large majority are in shades of olive green and olive amber, various other true greens, shades of amber, and aqua. Finishes are typically straight (sheared) or cracked-off (or subtle variations like the rolled, flare, or globular flare) typically with with obvious re-firing; and occasionally with hard to classify variations of the double ring, mineral, or others. For more information on sunburst flasks check out the following external link: -auction.com/142.htm The olive amber half-pint flask pictured to the left is a typical 1820s to early 1830s design from the Keene-Marlboro Street Glass Works, Keene, NH. It is classified as GVIII-10, has a blowpipe pontil scar on the base, globular flare finish (sheared/cracked-off with tooling marks and re-firing), and was produced in a key mold. Click on the following links for more pictures of this flask: shoulder and neck/finish view; base view; side view. As an example of how a given type of bottle can be used or re-used for a non-type typical product, click on the following links: sunburst with label; close-up of the label. This shows an example of this same type sunburst flask that was used (or more likely re-used) for "SPTS. CAMPHOR" by a Pennsylvanian druggist. Spirits of camphor was historically used internally (an expectorant) and still is used externally (muscle aches and pains) though is now considered to be a more or less hazardous substance if ingested. It is definitely not a liquor though it has "spirits" in the name. The pint, clear green sunburst flask pictured to the right is an earlier product of same Keene, NH. glass works as the flask above and is one of the earliest figured flasks dating from between 1815 and 1817 (McKearin & Wilson 1978). It is classified as GVIII-2, has a glass-tipped pontil scar on the base, a straight (sheared/cracked-off) fire-polished finish, and was produced in a two-piece hinge mold. These flasks are often called "two pounders" by collectors as they are almost decanter-like with heavy glass weighing between 2 and 3 pounds. Click the following links to view more pictures of this flask: shoulder and neck/finish close-up; base view; side view. Cornucopia flasks: Flasks with the cornucopia and/or urn with fruit were a popular theme on flasks between about 1820 and 1850. They are covered as Group III in McKearin & Wilson (1978). Some of these flasks have an eagle design instead of the urn on the reverse, but are otherwise very similar. The symbols of the cornucopia and urn were easily recognized during the time as symbolic of the young country's (U.S.) good prospects and was a favorite motif in arts and crafts through the first half of the 19th century (McKearin & Wilson 1978). Cornucopia flasks were made in only the pint and half-pint sizes. These flasks seem to all have pontil scars - typically either a glass-tipped or blowpipe pontil - reflecting their early manufacturing dates; iron pontils are unusual. Colors are once again variable but dominated by olive green, olive amber, other shades of amber and green, and aqua. Finishes are almost always a of the straight (sheared) or cracked-off varieties (or subtle variations like the rolled, flare, or globular flare) typically with with obvious re-firing. The pictured flask (cornucopia side to the far left; urn to its right) is a product of Coventry Glass Works, Coventry, CT. and is classified as GIII-4. It has a straight to slightly flared finish (sheared/cracked-off and fire polished), blowpipe pontil scar, and was name in a key mold. Click the following links to view more pictures of this flask: base view showing the blowpipe pontil scar; side view showing the multiple vertical ribs that are commonly found on this style of flasks which generally date between the 1820s and about 1850. Geometric flasks: These flasks are very rare, very early (1810s or early 1820s), unusual, and unlikely to be encountered. Thus they are not covered. If interested in these types of flasks, refer to McKearin & Wilson (1978) page 436 (part of Group X: Miscellaneous flasks). Users can also find some information on these type flasks, including pictures, at the following link: -auction.com/144.htm
Masonic flasks The flasks pictured here are examples of a relatively large and varied group of figured flasks that feature the somewhat variable Masonic motifs of the Freemasons, a potent political and social force during the first half of the 19th century. These could also be considered as "historical" flasks by some (Munsey 1970). Masonic flasks are covered as Group IV in McKearin & Wilson (1978). Most Masonic flasks have some type of design on the reverse that features an American eagle. These types of flasks are some of the earlier of the figured flasks dating primarily between 1815 and the 1830s though a few date as late as the Civil War. These later flasks have more simplistic Masonic-like emblems than their earlier ancestors (see McKearin & Wilson 1978:436-440). All of the Masonic flasks pictured/linked in this section are from the earlier era. (Note: One of the later type Masonic flasks is covered in the calabash section.)
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