An adze is a cutting tool similar to an axe but with the cutting edge perpendicular to the handle rather than parallel. They have been used since the stone age. Adzes are used for carving wood in hand woodworking. Two basic forms of an adze are the hand adze—a short handled tool swung with one hand—and the foot adze—a long handled tool capable of powerful swings using both hands, the cutting edge striking at foot or shin level. A similar, but blunt, tool used for digging in hard ground is called a mattock; the adze is depicted in ancient Egyptian art from the Old Kingdom onward. The adze blades were made of stone, but in the Predynastic Period copper adzes had all but replaced those made of flint. While stone blades were fastened to the wooden handle by tying, metal blades had sockets into which the handle was fitted. Examples of Egyptian adzes can be found on the Petrie Museum website. A depiction of an adze was used as a hieroglyph, representing the consonants stp, "chosen", used as:... Pharaoh XX, chosen of God/Goddess YY...

The ahnetjer depicted as an adze-like instrument, was used in the Opening of the Mouth ceremony, intended to convey power over their senses to statues and mummies. It was the foreleg of a freshly sacrificed bull or cow with which the mouth was touched; as iron age technology moved south into Africa with migrating ancient Egyptians, they carried their technology with them, including adzes. To this day, iron adzes are used all over rural Africa for various purposes - from digging pit latrines, chopping firewood, to tilling crop fields - whether they are of maize, tea, beans, yams or a plethora of other cash and subsistence crops. Prehistoric Māori adzes from New Zealand, used for wood carving, were made from nephrite in the South Island. In the North Island they were made from greywacke or basalt. At the same time on Henderson Island, a small coral island in eastern Polynesia lacking any rock other than limestone, natives may have fashioned giant clamshells into adzes. American Northwest coast native peoples traditionally used adzes for both functional construction and art.

Northwest coast adzes take two forms: D-handle. The hafted form is similar in form to a European adze with the haft constructed from a natural crooked branch which forms a 60% angle; the thin end is used as the handle and the thick end is flattened and notched such that an adze iron can be lashed to it. Modern hafts are sometimes constructed from a sawed blank with a dowel added for strength at the crook; the second form is the D-handle adze, an adze iron with a directly attached handle. The D-handle, provides no mechanical leverage. Northwest coast adzes are classified by size and iron shape vs. role. As with European adzes, iron shapes include straight and lipped. Where larger Northwest adzes are similar in size to their European counterparts, the smaller sizes are much lighter such that they can be used for the detailed smoothing and surface texturing required for figure carving. Final surfacing is sometimes performed with a crooked knife. Ground stone adzes are still in use by a variety of people in Irian Jaya, Papua New Guinea and some of the smaller Islands of Melanesia and Micronesia.

The hardstone is ground on a riverine rock with the help of water until it has got the desired shape. It is fixed to a natural grown angled wood with resin and plant fibers; the shape and manufacture of these adzes is similar to those found from the Neolithic stone age in Europe. A variety of minerals are used, their everyday use is on a steady decline, as it is much more convenient to cut firewood using imported steel axes or machetes. However, certain ceremonial crafts such as making canoes, ceremonial shields, drums, containers or communal houses etc. may require the use of traditional-made stone adzes. Modern adzes are made from steel with wooden handles, enjoy limited use: in semi-industrial areas, but by "revivalists" such as those at the Colonial Williamsburg cultural center in Virginia, USA. However, the traditional adze has been replaced by the sawmill and the powered-plane, at least in industrialised cultures, it remains in use for example by coopers. Adzes are in current use by artists such as Northwest Coast American and Canadian Indian sculptors doing pole work and bowls.

"Adzes are used for removing heavy waste, shaping, or trimming the surfaces of timber..." and boards. The user stands astride a board or log and swings the adze downwards between his feet, chipping off pieces of wood, moving backwards as they go and leaving a smooth surface behind. Foot adzes are most known as shipbuilder's or carpenter's adzes, they range in size from 00 to 5 being 3 1/4 to 4 3/4 pounds with the cutting edge 3 to 4 1/2 inches wide. On the modern, steel adze the cutting edge may be flat for smoothing work to rounded for hollowing work such as bowls and canoes; the shoulders or sides of an adze may be curved called a lipped adze, used for notching. The end away from the cutting edge is called the pole and be of different shapes flat or a pin pole. Carpenter's adze - A heavy adze with steep curves, a heavy, blunt pole; the weight of this adze makes it unsuitable for sustained overhead adzing. Railroad adze - A carpenter's adze which had its bit extended in an effort to limit the breaking of handles when shaping railroad ties.

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Teddy Corpuz is a Filipino singer, television presenter and comedian. Corpuz is a regular host/judge on ABS-CBN’s noontime variety show It's Showtime. Corpuz first appeared in the GMA Network sitcom Idol Ko si Kap, on became Richard Gutierrez's sidekick in the fantaserye Sugo, he formed the band Rocksteddy. He acted in the indie film, Isnats and is a part of a comedic group called The Cardio Boys, he hosted the programs Shock Attack, Tawatakutan and he hosts the reality talent/dance show It's Showtime on ABS-CBN. He was reunited with Empoy Marquez for the webshow Teddy and Empoy Show, with Rizza Diaz as their first guest. Isnats Bulong Wedding Tayo, Wedding Hindi The Breakup Playlist Papa Pogi With RocksteddyTsubtsatagilidakeyn PatiPatopanabla Ayos Lang Ako Instadramatic

More is the fourth and final studio album by American no wave band No Trend. It was recorded in 1987 and was intended to be released through Touch & Go Records, however the label refused to release it, the band broke up soon after; the album remained unreleased until 2001 after Morphius Archives got the rights to release the record. After the release of Tritonian Nash-Vegas Polyester Complex, No Trend recorded another album in 1987 and gave it to Touch & Go Records to release it. However, after listening to it, the label deemed the record to be "too weird" for a release. Unable to find a record label to release the album, No Trend broke up in 1989. There were many different session musicians who performed on the album, so many, in fact, that the band where unable to list them all in the liner notes for the release