The Max Rebo Band is a fictional alien pop music band that appeared in the 1983 film Return of the Jedi as in-house performers for crime lord Jabba the Hutt. The original lineup consisted of the blue-skinned Ortolan keyboardist Max Rebo, a plump Kitonak woodwind player named Droopy McCool, and the spindly-legged Pa'lowick lead singer Sy Snootles. Their role in the Star Wars canon is elaborated upon in several Star Wars expanded universe short stories and comics.
The group are classified as jizz-wailers, which, according to the Star Wars Encyclopedia, refers to a "musician who plays a fast, contemporary, and upbeat style of music."
Max and Droopy were portrayed by actors in bodysuits, while Sy was operated by two puppeteers who were stationed above and beneath the set. For the 1997 Special Edition re-release of Return of the Jedi, the band gained nine new members while Sy Snootles was computer-generated.
The Max Rebo Band made their Star Wars canon debut in Return of the Jedi during the scenes set in Jabba's palace on Tatooine. In the original version, the trio performs a Huttese-language pop song titled "Lapti Nek" ("Work It Out"); the lyrics are about dancing. The track was replaced in the Special Edition with "Jedi Rocks," described by the Star Wars Databank as a "less-dated piece of music." Written by jazz musician Jerry Hey, the original track is only one minute long but was padded with an instrumental that was also heard in the film, which stretched the total length to two minutes and 49 seconds.
Joh or Joh. may refer to:
The First Epistle of John, often referred to as First John (US) or One John (UK) (and written 1 John) is a book of the New Testament. This fourth catholic or "general" epistle is attributed to John the Evangelist, traditionally thought to be the author of the Gospel of John and the other two Epistles of John. This Epistle was probably written in Ephesus between the years 95–110. The work was written to counter docetism, which is the belief that Jesus did not come "in the flesh", but only as a spirit. It also defined how Christians are to discern true teachers: by their ethics, their proclamation of Jesus in the flesh, and by their love.
The Epistle is traditionally held to have been composed by John the Evangelist, at Ephesus, when the writer was in advanced age. The epistle's content, language and conceptual style are very similar to the Gospel of John, 2 John, and 3 John, indicating that they were written by the same author. Indeed, at the end of the 19th century scholar Ernest DeWitt Burton wrote that there could be "no reasonable doubt" that 1 John and the gospel were written by the same author, and Amos Wilder has said that, "Early Christian tradition and the great majority of modern scholars have agreed on the common authorship of these writings, even where the author has not been identified with the apostle John."
The Second Epistle of John, often referred to as Second John and often written 2 John, is a book of the New Testament attributed to John the Evangelist, traditionally thought to be the author of the Gospel of John and the other two epistles of John.
The language of this epistle is remarkably similar to 3 John. It is therefore suggested by a few that a single author composed both of these letters. The traditional view contends that all the letters are by the hand of John the apostle, and the linguistic structure, special vocabulary, and polemical issues all lend toward this theory.
Also significant is the clear warning against paying heed to those who say that Jesus was not a flesh-and-blood figure: "For many deceivers are entered into the world, who confess not that Jesus Christ is come in the flesh." This establishes that, from the time the epistle was first written, there were those who had docetic Christologies, believing that the human person of Jesus was actually pure spirit.
[Speaking]
New Juice, the CONGLOMERATE, come on
[Verse 1]
Now sometimes, you got to fight it out
Find something how to write about and white it out
It ain't too many things I ain't seen or done
Cream and guns, I'm feeling like our rap dreams have begun
The scene is upon us, the green is enormous
I'm god's law, you could read me in your tauris
You could call me, when it's a weed shortage
I breez through artists, It's funny and shit, they wanna
Alter a nigga, when my money's legit
I guess they must've thought that I was fucking with Knicks
Shit, they should've caught me when I was bringing bricks in
Right past customs,driving them to chicks in
Now I'm in the big Benz, stacking sick ends
And just wait, loyalties ain't even kicked in
And young jackers get immortalized forever at twenty-one
I used to move more damn weight than anyone
[Chorus]
Give it all you got, no matter what you do
You got to keep it real with yourself
One shot at the top, you never got two
I'll let you know the deal
Give it all you got, no matter what you do
You got to keep it real
It's one shot at the top, you never get two
No time to chill nigga
[Verse 2]
In my crib, use big screens is my rule
Yo boy got more sixteens than high school
More twenty-two's than college, I drop jewels
Fools refuse to use the knowledge
I used to set up whole schools in the projects
When niggas is dead broke, hoes viewed as objects
Opps, I just contradicted myself, who the fuck am I to teach
I'm afflicted myself, at least I'm rich
You gonna get priced out if you try
Two point seven, I'm iced out in july
Sometimes, taking the right rout, you do right
Chuchu breaking the pipe out, my crew high
I send this one out to Chi
Approach CONGLOM wrong, no doubts you die
The second live don't just drop out the sky
I ain't took the game yet, but I'm out to try, nigga
[Chorus]
[Verse 3]
I'm adjacent to myself, with the spirit that I rhyme with
My Movado is broken, my lyrics are timeless
I'm with the great ones, whoever you call great
But niggas always got their hands out like All State
I'm like "Excuse me G, I don't fuckin know ya
I can't do nothing for ya."
I'm not the nigga to depend on
Because before I let you eat, I'm gonna have to put my friends on
I might rush you through the crowd, and write ten songs
Or air it out, I'm just trying to see the endzone
Or you can kind of say, I'm kind of like the goal post
I'm always up-right with it when I hold toast
Mr. Gold Coast, rocking a chain
I'm hot like flame, with no block to claim
Em know me, and Jin knows of me
One in a million like the great ten Moseley
Kan' Know me, Kanye Knows me
Twista know me, It's ya homie
Slum know me, Dilated do
Jurassic 5, since way back in eighty-two
Xzibit know me, Tash, Jeru and Ino
Royce, what up cuz, you need to holla at yo people
To all my underground niggas that I started with
You know the battle cat, I'll show you who the artist is
He grew up claiming BZT
When Rio was gettin bone-taste from Eazy-E
So nigga please, let me be me
Somewhere between fifty and BDP, lies me
I'll leave your vocal cords come in a loose
I am not the one to comfront in the booth
King of freestyle, I've done it as a youth
And I don't know a motherfucker that want it with Juice
[Chorus]
[Juice speaking]
That's real. Yea. Emmaculate on the beat. Whattup nigga
Conglomerate. J U, I haven't even started my rain, I'm