Fishing near Amsterdam, in Zaan is a unique experience. Catch zander, perch en pike in front of the Dutch windmills.
Book a trip with a Dutch fishing guide close to Amsterdam and fish on the hotspots.
My name is Marc Krull and I fish since early childhood. After regularly showing my family and friends my passion for fishing and taking them along, I had the idea to start as a fishing guide.
Would you like to go fishing by yourself or together with your boyfriend / girlfriend, son or daughter etc..., then book a fishing day with me at one of the most beautiful places in the Netherlands : The river De Zaan.
What could be more beautiful, than to catch a zander / pike or perch in front of The Zaanse Schans. During the day you can use various types and brands of fishing rods, reels and lures. You don't have to bring any fishing equipment yourself. Coffee and/or tea are on the boat. All this is included in the price.
If you don't have a fishing licence yet, you can apply for a day permit through me, this costs € 10 per person per day. I'm happy to take fishing beginners as well.
I fish near Amsterdam and we can discuss a meeting point close to Amsterdam Centraal.
I hope to welcome you soon on board!
Alumacraft lunker 165 Ltd. CS with Honda 40 HP outboard motor.
Fishfinders Humminbird Helix 10 Di, Helix 7 si and a Helix 7 chirp connected with a Humminbird 360 imaging.
A perfect boat for fishing, with professional equipment.


one at a time as they become ready for publication.
For each type of content listed in 5) above, describe the intended review process.
impartiality (single blind, double blind review, etc.).
publishing. Attach a CV for each editor or coeditor in chief.


When assets become excess to the needs of the University or the Sponsored Project under which they were acquired, they must be declared excess and the disposition process initiated.
When assets become excess to the needs of the University or the Sponsored Project under which they were acquired, they must be declared excess and the disposition process initiated. Disposition is the process by which property owned by or otherwise accountable to Stanford is permanently removed from active University records.
Department personnel must inform their Department Property Administrator when assets are no longer needed. The DPA is responsible for preparing the excess items for disposal and initiating the excess request. The Property Management Office approves and coordinates the physical collection and final disposition of all excess property from Stanford departments.
How to know what qualifies as capital equipment.
How to acquire capital equipment.
How to know what to include in the purchase price of capital equipment.
How to set up a PTA when fabricating a piece of equipment.


Previous versions were never meant to be final in any way, this is what we were aiming for all along! It was marked as Early Access on Steam for like 5 years, I just wanted people to be able to play the WIP versions and give feedback.
Score/time targets were removed since they were honestly total filler before the game got long enough to have enough stuff "on its own". You already play 4 variants of each stage (Boki/Savant x Normal/Hard) through 12 worlds, so the time/score goals were redundant, plus Endless is huge now for people who still want more stuff to do. Damage goals were kept though, since it gives experienced players a thing to aim for (otherwise you can just plow through early levels with basic shooter knowledge, without needing to pay attention to the layouts or enemies).
Already on version 3. Congrats.
Wish I had some kind of personal connection to this, but when raocow was playing through this years ago, I was in a *really* rough patch in my life.
Sounds like it's time to go 100% it if you ask me.
Awoo wrote: ↑ Wish I had some kind of personal connection to this, but when raocow was playing through this years ago, I was in a *really* rough patch in my life.
I'm glad to see this return. It's just a fun game to watch while also being a perfect fit for bringing out the most jovial in raocow. It is a little weird seeing so much change from what felt like a pretty solid game before, but the new presentation does look good, and reading that the game has reached a state the creators were aiming for all along is promising. And ultimately, once the levels start, it very much feels like the same old Copy Kitty (at least as long as our good friend Ar-mega-don is still around).
I think cutting down the full star/cookie requirements to just one criteria makes a lot of sense, especially with so many replay opportunities already baked in. Even with optional challenge content, overwhelming the player can end up discouraging them or diluting the focus of the game and drag down the overall experience. I would maybe default to using score instead of damage since you still have to plan and play carefully while also giving an incentive to learn the scoring intricacies and keep your combo meter up, or time since speed running has become such a natural extension of gaming mastery, but that's purely personal preference, so I can't fault the devs for preferring the damage goal.
Copy Kitty is one of the few indie games I've clocked over 100 hours on. It's outright one of my favourites and I'm overjoyed to see it return!
It's pretty much just the besterest.
Something to consider next video if it ends up short, but maybe check out the Database in the Extras menu.
I just have to say that I love this game. Not only is it amazing, but I can't think of any other game we've consistently had happy cow in virtually every video. We need a way to turn this into as long of a series as the Megas.
I am dissatisfied with only 3 levels a video. You used to do 5 in the past, for Copy Kitty.
Sebby19 wrote: ↑ I am dissatisfied with only 3 levels a video. You used to do 5 in the past, for Copy Kitty.
raocow's laughter here is so contagious.
So I'm gonna try to do that!
Well, that got me to look at the OP and wow, I forgot how glorious the titles for the original playthrough were.
raocow: If you want to know what a weapon does, press the weapon switch button.
Also, you definitely want to switch weapons around and pick up other weapons from time to time, don't just keep the weapons you happen to have until they run out or you'll make things harder on yourself later on.
raocow's reaction to Magna-Crush was everything I hoped it would be.
I can't recall the last time i've heard raocow scream like that.
SAJewers wrote: ↑ raocow: If you want to know what a weapon does, press the weapon switch button.
Given he's going for low-damage stars, I think he'll naturally pick up this habit as he works out the "route" for each level.
Magna-Crush is a delightful, delightful thing. But... oh gods, I have to bite my tongue. There's so much I'm looking forward to.
Everything Yoggval. Sky Yoggval. Phoenix Yoggbal. Spectrum Yoggval. Yoggval is what pushes the final design of Copy Kitty above and beyond.
This game never ceases to amaze.
Seriously though, the improvements from Turbo are fascinating and give the game a structure it sorely needed.
A nice little quality-of-life feature that I noticed while playing last night: On repeat plays of a level, the game will actually tell you if you've taken too much damage to earn the level's star. A small "no star" symbol (star with a red X through it) will appear in the upper-left corner of Boki's health meter when too much damage is taken. You can see this happen in raocow's latest video at 3:00.


text:
Q: How to map the CURL command to Unit testing in Rails I ran the below curl command in terminal
curl -d "message" http://localhost:8080/api/validate -u username:password

and is running as expected.
I am writing a functional test for the above in Rails. For doing this I have to call the post method and pass the arguments whatever I have done for curl to post.
post 'validate',:request => "message"

I am able to pass the request paramater successfully. But how do I pass the username and password that I am passing in Curl to the post method in rails. Please advise

A: The option you are passing to curl is setting up HTTP Basic Auth, so you need to do that in your test.
Take a look at whats going on in the answer to this question:
Testing HTTP Basic Auth in Rails 2.2+

redpajama_set_name: RedPajamaStackExchange


Though sand sculpting festivals are fairly common, few are as majestic as the one organized by Belgium's Royal Sand Carvers Society. An annual tradition since 1997, the festival which received the 2010 Guinness World Record for the largest such event, incorporates over 150 sand masterpieces created by 30 of the world's best carvers.
The two-month-long festival that opened to the public on June 28th, has traditionally been held on the beaches off the coastal town of Blankenberge. This year, in an attempt to make the event more accessible to visitors, the organizers moved it to the pristine beaches near the more centrally located city of Ostend.
While in previous years the sand sculptures have ranged from fictional characters like RoboCop to real-life monuments like the Lincoln Memorial, this year's event is more focused. Entitled 'Disneyland Paris Sand Magic' it is a stunning replica of the theme park's Paris location using 8,000 square meters of sand and water.
Among the highlights are important landmarks from the most popular Disneyland attractions. Frontierland is represented by Big Thunder Mountain while Adventureland is depicted by the Pirates of the Caribbean. Then there Alice's Curious Labyrinth from Fantasyland and even a sandy version of the park's latest attraction: Ratatouille: L'Aventure Totalement Toquée de Rémy (Remy's totally Zany Adventure).
Of course, no Disney park is complete without its fictional characters - At Disneyland Paris Sand Magic you will find favorites like Dumbo the Elephant, Indiana Jones, Cinderella and her evil stepsisters and of course Minnie and Mickey Mouse.
For those Disney fans that are unable to make it to Belgium before the festival ends on August 31st, there is some good news - Next year, the festival will be dedicated to Disney's upcoming movie 'The Good Dinosuar and the year after . . . Finding Dory!
And if sand carvings are not your thing, you may want to plan a visit to Bruges, the capital of Belgium's West Flanders Province in January, and check out the equally impressive ice sculpture festival. If the 2013 event that featured 70 characters and scenes from Disney's hit movie Frozen is any indication, it is likely to be spectacular!
What are the two things that are different about this year's sand sculpture festival in Belgium?
What are some of highlights at this year's festival?
Is it weard that I want to destroy them wen the fiesta is over?
Richard Pavek. "World's Largest Sand Sculpting Festival Pays Tribute To Disneyland Paris." DOGOnews, DOGO Media, Inc., 19 Jul, 2014, www.dogonews.com/2014/7/20/worlds-largest-sand-sculpting-festival-pays-tribute-to-disneyland-paris. Accessed 19 Apr. 2019.
Pavek, Richard. "World's Largest Sand Sculpting Festival Pays Tribute To Disneyland Paris." DOGOnews, DOGO Media, Inc., 19 Jul, 2014, Web. 19 Apr. 2019.
Pavek, Richard. "World's Largest Sand Sculpting Festival Pays Tribute To Disneyland Paris." DOGOnews. July 19, 2014. Accessed April 19, 2019. https://www.dogonews.com/2014/7/20/worlds-largest-sand-sculpting-festival-pays-tribute-to-disneyland-paris.


text:
https://www.accessnow.org:443/facebook-ray-ban-stories-smart-glasses-privacy-review/
Why you...
Business and Human RightsData ProtectionDigital SecurityPrivacy
Why you shouldn't buy Facebook Ray-Ban smart glasses
29 September 2021 | 5:00 pm
Imagine that you are strolling along a tranquil beach in your swimsuit. Suddenly, a stranger walking toward you takes out their phone and starts recording you. You might work up the courage to ask how they dared to invade your privacy, and demand they delete the footage.
Fortunately, overt recording of people in public spaces is not as common as it could be, because it involves pointing a camera at someone. But it just became a lot easier with Facebook and Ray-Ban's new mainstream tool to secretly surveil people: Stories smart glasses (as pictured above).
Below, we'll unpack why you shouldn't buy these wearable surveillance cameras, why they can't be used safely in public spaces, and why Facebook and other companies need to prioritise human rights when developing "smart" glasses.
Surveillance spectacles for stalkers and spies
The new glasses, which look like a normal pair of Ray-Ban sunglasses, include "dual integrated 5MP cameras" that "let you capture life's spontaneous moments." People can take photos and up to 30-second videos using the capture button or hands-free with voice commands.
Importantly, there's no obvious indication that the glasses are recording, beyond a tiny, white LED light that you cannot see from a distance in daylight. Ireland's Data Protection Commission has even called on Facebook to demonstrate that this light is an effective way of notifying bystanders. We could save them the energy; it isn't.
The obvious threat is that wearers can easily record others without their knowledge. Facebook and Ray-Ban say that they consulted "experts across academia and the privacy, safety, and civil liberties communities globally" for these glasses. Access Now participated in one of these "design jams" in May 2020, and our top recommendation — to prioritise alerting bystanders that they are being recorded — was ignored.
There are many better ways they could have made it clear recording is underway than a tiny white light. Why not a red light, which is typically associated with recording? Why not add a loud beep before recording starts? Or give them a unique design to distinguish them from normal Ray-Bans?
All of these people could be recording you. Image by [email protected]
"Smart" = surveillance, and surveillance isn't cool
If you're considering buying a pair of these creepy glasses, ask yourself whether you really want to become another link in the growing network of surveillance cameras that surrounds us? There are already "smart doorbells" that share footage with law enforcement, and "smart lamp posts" that surveil protestors (and get torn down by them).
With smart glasses like these, it's not enough to only consider the needs of people using the product; companies need to also prioritise the rights of bystanders who could be recorded, surveilled, and stalked by people wearing them. These glasses, with their stealthy recording capabilities, will exacerbate the harms of ubiquitous surveillance that fall disproportionately on marginalised communities.
Companies must anticipate and protect against disparate impacts of their products. This means looking at how their design choices impact marginalised communities or else these "smart" (a.k.a surveillance) gadgets risk amplifying oppression.
Facebook takes your privacy, seriously
There are other issues with these glasses beyond the impact on bystanders: what data they collect, how it's stored, with whom it's shared, and for what it's used.
There is also the issue — which is becoming increasingly prominent as Facebook moves into the hardware market — that wearers of Ray-Ban Stories must link them to a Facebook account and use the Facebook View app to transfer photos and videos.
The Facebook View app may collect data on: health and fitness, purchases, finances, location, contacts, search history, sensitive data, and more. This means that wearers must give up deeply sensitive information for basic functionality. Of course, Facebook requires this to expand their rampant data harvesting practices. There is no technical need for the View app or for a Facebook account.
Facebook is essentially locking people into its walled garden by refusing to allow them to use this piece of hardware without consenting to privacy infringements. We've already seen this issue play out after Facebook's acquisition of virtual reality (VR) hardware pioneer Oculus.
Since October 2020, new users of Oculus VR headsets need to login using a Facebook account, as opposed to an Oculus account. It's also been reported that, starting in 2023, "full functionality" of its headsets will require a Facebook account. Other companies, like Apple, rely on this lock-in approach, which, ironically, has been vehemently criticised as anti-competitive behaviour by … Facebook.
Buyers of Ray-Ban Stories are not only relinquishing bystander privacy, but also their own.
First (mis)steps on the road to augmented reality
Facebook's failure to prioritise human rights in designing this product is a worrying development, because it's the company's first step toward developing full-blown augmented reality (AR) glasses as part of Project Aria. Facebook, Apple, and many other companies see AR (and virtual reality) as fundamental to the "next generation of computing." According to some predictions, AR glasses are poised to become the next iPhone, redefining how we connect to the internet and to one another.
As we've previously noted, AR can have many cool, beneficial applications. But if it's done wrong, it can be the next frontier of human rights violations. We have the opportunity to design AR glasses with privacy and other human rights at their core, or we can prioritise sales and profit margins above everything else. The debacle of Ray-Ban Stories shows that, despite big claims about ensuring that the next generation of computing is developing responsibly, Facebook's priorities lie with its own bottom line, rather than with protecting our rights.
So, if you're thinking about buying a pair of these creepy surveillance spectacles, think again. Don't support a product that disregards people's rights and adds another link to the surveillance panopticon.
Images by: [email protected]
Daniel Leufer@djleufer
View all posts by Daniel Leufer →
Facebook Ray-Ban Stories glasses

redpajama_set_name: RedPajamaCommonCrawl


text:
Sharp rise in green electricity production
© Shutterstock / Als een Rode Lap - Elco
In 2019, the Netherlands generated 18 percent more electricity from renewable sources than in the previous year. The increase was 11 percent in 2018. Electricity production from solar energy in particular was up in 2019, according to new and provisional figures on renewable electricity, released by Statistics Netherlands (CBS).
In 2019, total electricity production from renewable sources amounted to 21.8 billion kilowatt-hours (kWh) in 2019, versus 18.5 billion kWh in 2018. Wind turbines occupied the largest share at 49 percent, although this represented a decline on 2018 (54 percent). Biomass accounted for 26 percent, while solar power accounted for 24 percent of total renewable electricity production.
In 2019, renewable electricity production was good for 18 percent of total electricity consumption in the Netherlands, up from 15 percent in 2018.
Show datatableRenewable electricity production
Renewable electricity production
Wind energy (bn kWh)
Biomass (bn kWh)
Solar power (bn kWh)
Hydropower (bn kWh)
4.725 7.056 0.104 0.1
5.368 6.003 0.41 0.101
5.81 5.096 0.725 0.102
8.364 5.01 1.602 0.098
10.03 4.694 3.693 0.094
10.743 5.772 5.189 0.093
*Provisional figures.
40 percent more solar power due to more panels
Solar panel power production was up from 3.7 billion kWh in 2018 to 5.2 billion kWh in 2019. This represents an increase of more than 40 percent, which is directly related to increased installed capacity of solar panels. The total installed capacity of solar panels rose by around 2,400 megawatts (MW) in 2019, and is now estimated at 6,900 MW. The bulk of this increase (70 percent or 1,700 MW) is attributable to new, large rooftop and ground-mounted solar panel systems.
Show datatableSolar panel capacity
Solar panel capacity
Solar panel capacity, end of reporting year (in MW) (MW)
Limited growth in wind energy
Electricity production from wind rose by 7 percent last year, from 10.0 to 10.7 billion kWh. Just as in the preceding two years, there was hardly any growth in the number of wind turbines around the country. On balance, onshore wind farm capacity rose by 70 MW to 3,500 MW. Offshore capacity remained unchanged at nearly 1,000 MW, with no new turbines added last year.
Show datatableWind energy capacity
Wind energy capacity
Onshore (MW)
Offshore (MW)
3300.103 957
External link StatLine - Renewable electricity; production and capacity
External link StatLine - Electricity balance sheet; supply and consumption
News release - Share of renewable energy up to 7.4 percent
Publication - Renewable energy in the Netherlands (Dutch only)


On July 27, 2018, by the initiative of the Uman Tomorrow Foundation, a round table "Creation of a tourist cluster "West Cherkaska Oblast" was held in Uman. The event was attended by representatives of the city and region authorities of Uman, entrepreneurs from Uman, Zhashkiv, Mankivka, Buksky Canyon and, even , citizens of Greece. On behalf of the "Uman Tomorrow", President Oleksandr Fainin, Project Manager Olga Buts and Media Coordinator Victoria Sagirova were present.
The participants of the meeting approved the decision to create a large tourist club that would be able to unite entrepreneurs of tourism, hospitality and related business spheres for the purpose of creating and promoting a single regional tourist product, attracting investment, creating new jobs, etc.


Each year Medeconomics assesses the rates locums are paid when booking work directly with practices and through locum agencies.
According to this year's poll of 448 GPs who undertake locum work, Wales saw the highest increase in the daily rates locums earned from booking work directly with practices, with a 10% increase in the average fees charged compared with last year. However the average daily rate charged by locums in the north of England region fell by 3.4% compared with 12 months ago.
The average daily fees locums received from practices increased by 6.5% in London, by 2.3% in the south of England and by 1% in both the Midlands and east of England and Scotland. There were not enough responses from Northern Ireland this year to assess locum rates in the province.
The average hourly rate that locums charged practices directly rose between 1.2% and 5.2% in the past year, with the exception of Scotland and the Midlands and East of England region, where hourly rates remained the same.
Average locum earnings from agency work also increased in England, with hourly rates going up by between 2.5% and 4.9%. It was not possible to assess agency rates in Wales, Scotland and Northern Ireland due to low level of responses in these areas.
Despite the rise in average rates this year, only 28% of the locums responding to the survey said that they had increased their fees in the past 12 months. Some 70% said their rates had remained the same, while 2% said they had decreased.
Despite the rising rates, some GPs felt that they were still underpaid for the work they were doing. 'I don't feel the rate represents the value of the work , the volume or the level of risk I deal with,' said one.
Demand for locums also remains high. Of those respondents who were doing locum work 12 months ago, 48% said demand for their services was higher compared with a year ago, the same proportion (48%) said demand was about the same and only 4% said demand was lower. This reflects a GPonline poll earlier this year, where 60% of partners said their practice's reliance on locums had increased in the previous year.
Of those GPs who describe their main role as a locum, some 12% said they were a partner or salaried GP 12 months ago, suggesting that becoming a locum is still a popular career choice for many GPs.
Earlier this year a GPonline poll of 654 GPs found that 44% believed that locum work was the most attractive career option, 36% said being a salaried GP would be their first choice and only 20% selecting partnership as their first choice career option.
The full locum rates information is available to subscribers of Medeconomics. Click here for more details.


text:
Irish music industry reps launch a research survey to make a case for a national strategy for music
First Music Contact and Sound Diplomacy have launched a research survey towards making the case for a National Strategy for Music to guide investment in the sector.
They are calling all musicians and those who work in music in Ireland to contribute.
First Music Contact, the Arts Council-funded national resource organisation for musicians and the independent music sector, is working on a ten-year plan to develop and improve and support the infrastructure for musicians and the wider music sector in Ireland.
Together with Sound Diplomacy, a UK based music industry research company, and a steering group that included Irish musicians, labels, managers, studios, publishers, and other professionals working within the industry, they have developed a research template which will measure and map the health of current music support infrastructure of our Industry. This research will then provide clear insights to deliver a comprehensive roadmap for development.
The research seeks to include all genres of music in order to develop a strategy and programmes to address areas where there are gaps in provision. On completion, First Music Contact will work together with industry and government to develop programs and investment to deliver these plans.
"This is a different kind of research than that carried out in Ireland in the past" said Angela Dorgan, CEO of First Music Contact, which is driving the research
Nialler9 writers pick their favourite songs of 2019 (Podcast)
"We are not measuring the economic impact of music in Ireland, or the jobs it clearly creates or even the importance of music to our countries health, wellbeing and reputation. That case has, we feel, been made very well. What we are trying to do is measure what intervention, support, impact and investment the sector needs to develop further from the ground up so that everyone, and in particular the makers, are helped to develop to their full potential so that this important contribution by music and musicians can be sustained." She continued. "We predict those investments will help our artists and those working with and around them to better compete in a global market and increase the global impact of all Irish music by acting at a local and national level."
The aim is to not only make sure the challenges and opportunities you face are clearly identified, but also to consider the common goals that can be reached in support of a sustainable music industry for all. Your help is needed in order to shape the future direction and priorities in building a vibrant music sector in Ireland. Please participate and share.
Nialler9 Monday, July 9, 2018
Lizzo's 'Boys' is a lusty Prince tribute summer jam
Premiere: Tanjier up their pace in new single 'Miles'


text:
Дуга Пушка и Дакоте је 2. епизода Кена Паркера објављена у Лунов магнус стрипу бр. 305. Објављена је у мају 1978. године у Лунов магнус стрипу бр. 305, отприлике месец дана после прве епизоде. Насловна страна представља репродукцију Милацове насловнице из 1977. године. Аутор репродукције није познат. Цена свеске је била 10 дин. (0,53 $; 1 DEM).

Кратак садржај
Наставља се Кенов живот у Форт Смиту. Караван каубоја води стоку у Мајн таун (Mine Town). Контингент стоке је довољан за целу зиму за утврђење. Командант утврђења, пуковник Визер, забринут је да ће каубоје затећи снег и да ће им стока поцркати од зиме. Он даје задатак Кену да узме петоро људи с којима ће помоћи каубојима да дођу до Мајн Тауна.

Шесторка стиже у Мајн таун и затиче стоку у обору. Стока има војни жиг, али чувари тврде да стока припада Холборну, локалном моћнику. Почиње свађа која резултира пуцњавом у којој су Холборновци извукли дебљи крај. Након једне сличне гужве у салуну, Холборновци затичу на спавању свих петоро војника, осим Кена који је ноћ провео код Тине Меккој, локалне проститутке. Холборнови људи хватају и њега, али га од вешала спашавају локални свештеник и племе Дакота. На крају Паркер убија Холборна и креће са стоком и Дакотама ка Форт Смиту.

Скраћивање и цензура
И ова епизода је скраћена (као и претходна), али је при том и цензурисана.

На стр. 23, где Паркер и војници први пут срећу Холборнове људе, Паркер открива да један од њих у бисагама носи покварено месо. Измишљен је цео дијалог по коме Паркер тврди како Холборн храни индијанце трулим месом од чега умиру жене и деца. У оригиналу, међутим, Паркер у бисагама затиче индијански скалп, из чега се види да су холборнови људи ловци на индијанце и њихове скалпове.

Из неког разлога, у бившој Југославији једно време није било дозвољено приказивање ножа у стриповима. Нож је брисан где год би се појавио у стриповима Лунов магнус стрипа и Златне Серије. На стр. 30, Паркер вади из рукава нож којим намерава да нападне Холборнове људе. У ЛМС издању се, међутим, види како Паркер баца некакав смотуљак који личи на камен, док холборбовац пада као да га је погодио нож.

Цензура, ипак, није била баш свуда успешна, па се, рецимо, у 3. кадру на стр. 65. види како Паркер баца нож, али се само страну пре тога (кадар 1, стр. 64) не види како га држи у руци. Цензура ножа је тим пре нејасна јер је убијање пушкама и пиштољима било дозвољено.

Најкрупнија цензура десила се између страна 57. и 58. између којих је нестало читаве две странице. На њима Кен и Тина леже заједно у кревету. Тина признаје Кену да се заљубуила у њега, а у последњем кадру њих двоје се љубе. Ово "скрнављење" због еротских сцена, међутим, није ништа у односу на епизоду Дневник Адах, која ће се у ЛМС-у појавити осам година касније (ЛМС-632).

Мотивације главних ликова
И у овој епизоди се види комплексна мотивација главних ликова с којом је започето у 1. епизоди. Свештеник Ковик помаже Кену због гриже савести јер га је претходно избацио из своје капеле када је Кен хтео да се сакрије у звоник, чиме је ненамерно помогао Холборновим људима да га ухвате и замало убију. За разлику од њега, Дакоте узвраћају услугу којим их је Кен задужио када је ослободио Сивог Вука од холборнових људи. Да није било цензуре, могло се јасно видети да је кључна мотивације Тине Меккој да помогне Кену, то што се заљубила у њега.

Куриозитет

Након што су средили холборновце у Мајн тауну, Кен одлази код локалног брице да се обрије и коначно добија изгледа какав ће имати у наредних осамдесетак и кусур епизода. Милацо је Кенов изглед направио по глумцу Роберту Редфорду.

Према једном извору, ова промена настала је јер се Серђо Бонели прибојавао да публика неће добро прихватити главног јунака са великом брадом.

Оригинално издање
Епизоду је нацртао Иво Милацо (Milazzo), а сценарио написао Ђанкарло Берарди. Оригинал је изашао 1977. године под називом Mine Town. Међутим, Милацов потпис на 89. страниуци указује на то да је епизода нацртана 1975. године. (Година се иза Милацовог потписа не види јер је у ЛМС прекривена коцкицом која означава страницу.) Епизода је имала 96 страна.

Репризе
Епизода је репризирана је у бившој Југославији 1990. године у едицији Comicon у издању Moria-Sky Comics (Слободна далмација) са тврдим корицама и на А4 формату. Коштала је 30 динара.

Ова епизода је први пут репризрана у Србији у издању стрипарнице Darkwood у децембру 2017. године. Објављена је заједно са 1. епизодом (Дуга Пушка) у тврдом и меком повезу.

У Хрватској је доживела две репризе. Најпре ју је 25. новембра 2004. год. објавио Либелус, а потом Фибра 24. новембра 2007. год. Оба издања су изашла са тврдим корицама, оригиналном насловницом и насловом Mine Town. Прва је коштала 60, а друга 75 куна.

Фусноте

Стрип
Италијански стрип

redpajama_set_name: RedPajamaWikipedia


" New Year, new me" is the motto that is used as a resolution at the beginning of every year. But let's be honest with each other, do we actually follow through with all the new years resolutions to change ourselves for the bette,r or do we try to achieve them within a week and give up?
How about we start from the basics, starting from your own home, right in the closet. If we all reflect back to our wardrobe decisions in the past year, there were probably some slight regrets that got us second-guessing our style sense. Let's lay out the top 3 wardrobe basics to carry over to the New Year to start off the new me resolution.
You can never go wrong with a plain white button up shirt. My favorite basics in the closets are the ones where you have the versatility to dress them up or down depending on the occasion. There are different kinds of fits for a white shirt that can be best suited for every body type. An all-time favorite is the oversized shirt, almost as if you snuck away with one of your boyfriend's shirts. The oversized button down shirt can be worn as a tunic if you add a skinny belt at the waist, or it can be worn as a dress, paired with some boots.
Hands down, you can never go wrong with a pair of black booties. The right pair of shoes can easily complete any outfit whether it's business casual or a night out of town. The secret to finding the right pair of booties is the length of the boots on your ankle. You want to make sure that the boots do not cut off at the wrong place on your ankle because it can take away from the length of your legs. You easily can dress a pair of black booties with anything you have in your closet, from dresses to jeans and even suits.
How can we ever forget Coco Chanel's go-to fashion basic: the little black dress. The perfect black dress can last you through many years, even to the point of passing down the dress to your children one day. The perfect little black dress consists of the right fit around your curves, the length that will elongate your legs and the neckline that will show a little something something that is just enough, but not too much, of the ladies.
Let these fashion basics be the beginning of a new year to create your own personal style, to bring out the inner confidence you've been waiting for. It's not about what brands or how much you spend on these pieces, but how you style them with your own personal touch. Feel confident with how you present yourself and it's already a start to a new you. Now let's get a kick-start on those new years resolution, okay?
Christine Evelyn Wong is a Fashion Blogger and Youtuber based in Toronto who is always seeking inspiration for street style and social media. She has been in the fashion industry as a assistant at Judy Inc.,a Production Assistant at Designer Dennis Merotto, and is a frequent style contributor at Stylust Magazine. Fashion has become her everyday life from writing to styling and showcasing her style on social media. Christine continues to be a passionate dreamer who is determined to make a place for herself in the fashion industry.


text:
Hot Town Summer In The City Testo
Altre Canzoni
Hot Town Summer In The City
Testo Hot Town Summer In The City
Hot town summer in the city Back of my neck getting dirt and gritty Been down, isn't it a pity Doesn't seem to be a shadow in the city All around people looking half dead Walking on the sidewalk hotter than a match head But at night it's a different world Go out and find a girl Come on, come on and dance all night Despite the heat it will be alright And babe, don't you know it's a pity The days can't be like the night In the summer in the city In the summer in the city Cool town, evening in the city Dressed so fine and looking so pritty Cool cat lookin for a kitty Gonna look in every corner of the city Till I'm weezin like a bus stop Running up the stairs gonna meet ya on the roof top But at night it's a different world Go out and find a girl Come on, come on lets dance all night Despite the heat it will be alright And babe, don't you know it's a pity The days can't be like the night In the summer in the city In the summer in the city Solo Hot town summer in the city Back of my neck getting dirt and gritty Been down, isn't it a pity Doesn't seem to be a shadow in the city All around people looking half dead Walking on the sidewalk hotter than a match head But at night it's a different world Go out and find a girl Come on, come on lets dance all night Despite the heatit will be alright And babe don't you know it's a pity The days can't be like the night In the summer in the city In the summer in the city Hot town summer in the city
Significato Hot Town Summer In The City
All I Need To Know
Everytimes It Rains
Feeling Alright
Hamn 4 My Soul
Heart Full Of Rain
Hit The Road Jack
Honky Tonk Woman


text:
WESTFIELD, Massachusetts - April 16, 2018 - The new 110 Bear Hunter from Savage delivers steadfast performance and superior stopping power against tough game and even tougher conditions. Shipments of these firearms are currently being delivered to dealers.
The 110 Bear Hunter's revolutionary AccuFit system lets shooters easily customize the length-of-pull and comb height for a personalized fit, while the user-adjustable AccuTrigger system offers a crisp, clean pull and prevents the firearm from discharging if jarred or dropped.
Together with the AccuStock, which cradles the action three-dimensionally along its entire length, the 110 Bear Hunter provides the fit and function of a custom rifle—right out of the box. Plus, its 23-inch stainless steel fluted barrel is button-rifled, fitted with an adjustable muzzle brake and cradled securely inside a Mossy Oak Break-Up Country synthetic stock.
• AccuFit system lets shooters quickly adjust comb height and length-of-pull
• User-adjustable AccuTrigger
• AccuStock rail system secures the action three-dimensionally along its entire length
• Mossy Oak Break-Up Country synthetic stock
• 23-inch, stainless steel barrel with straight fluting and button rifling
• Adjustable muzzle brake
• Hinged floorplate magazine
• Soft grip fore-end and pistol grip surfaces
• New Model 110 design and ergonomics
57045 / 300 WSM, 23-inch barrel / $999
57046 / 338 Federal, 23-inch barrel / $999
57069 / 300 Win. Mag., 23-inch barrel / $999
57047 / 375 Ruger, 23-inch barrel / $999
Savage is a brand of Vista Outdoor Inc., an outdoor sports and recreation company. To learn more about Savage, visit www.savagearms.com.
About Vista Outdoor Inc.
Vista Outdoor is a leading global designer, manufacturer and marketer of consumer products in the growing outdoor sports and recreation markets. The company operates in two segments, Shooting Sports and Outdoor Products, and has a portfolio of well-recognized brands that provides consumers with a wide range of performance-driven, high-quality and innovative products for individual outdoor recreational pursuits. Vista Outdoor products are sold at leading retailers and distributors across North America and worldwide. Vista Outdoor is headquartered in Utah and has manufacturing operations and facilities in 13 U.S. States, Canada, Mexico and Puerto Rico along with international customer service, sales and sourcing operations in Asia, Australia, Canada, and Europe. For news and information, visit www.vistaoutdoor.com or follow us on Twitter @VistaOutdoorInc and Facebook at www.facebook.com/vistaoutdoor.


text:
White Ladder (20th Anniversary Edition)
by Ian Cohen
The UK singer-songwriter's 1998 album remains a phenomenon that defies explanation: a modest collection of love songs recorded in his bedroom by an Everyman who was suddenly Everywhere.
David Gray was once renowned for how famous he wasn't—a singer-songwriter's singer-songwriter, denied mainstream success in a way that registered as injustice by his cult of fans and admirers. Abandoned by EMI after 1996's self-deprecatingly titled Sell, Sell, Sell did the exact opposite, the British musician recorded his fourth album, White Ladder, in his apartment and released it on his own IHT label; the record subsequently achieved the rarefied level of ubiquity where its omnipresence became one of its defining characteristics.
In a snide yet mostly positive review of White Ladder's 2000 reissue, NME imagined Gray's "eyes-closed sincerity" soundtracking mortgage ads until the end of time. "A whole generation of couples stared meaningfully into each other's eyes as they performed their first wedding dance to 'This Year's Love,'" The Guardian quipped in 2010. "Without reverting to excessive hyperbole, there wasn't a home in Ireland that didn't own a copy of David Gray's breakthrough album," one local paper claimed. In a nation that produced U2, the Corrs, and Clannad, White Ladder remains the best-selling album of all time.
By 2001, Gray was on a level with Eminem and Britney Spears—at least in the sense that his music was used alongside theirs to torture prisoners at Guantanamo; Haj Ali, photographed as a hooded prisoner of war in Abu Ghraib, claimed that he was stripped, handcuffed and forced to hear a loop of "Babylon" so loud that he feared his head would burst. Twenty years later, that Gray never really felt as famous or infamous as Eminem or Britney Spears only enhances White Ladder's aura as an isolated incident that defies explanation: a modest collection of songs about lost love, drinking, and drinking over lost love, by an Everyman who was soon Everywhere.
Adding 1998's state-of-the-art electronic beats to his sturdy, occasionally sappy folk-pop gave White Ladder an air of novelty, even if it was hardly anomalous during a time when the coffee house and the club converged into a veritable subgenre: Think, for instance, of Everything But the Girl's Walking Wounded, or Beth Orton collaborating with William Orbit. Though "Sail Away" featured production from Marius de Vries, a collaborator of Bjork and Madonna, White Ladder wasn't intended as a reinvention. The newly aerodynamic production contrasted with Gray's endearingly po-faced image, emphasizing what he already was: a self-described sincere guy with a guitar, and also a man slightly out of time, someone watching from the periphery as others less burdened by regret lived, laughed, and danced without care. Paul Hartnoll of Orbital weaponized the four-on-the-floor thump that brings "Please Forgive Me" to a climax into an unlikely Ibiza smash, while the single "Babylon" was given an industrial remake. But on White Ladder, these underlying elements of dance music sounded like they were being experienced from a safe and sad distance, a drum'n'bass track muffled by a midnight cab's dull engine roar. The synthetic percussion of White Ladder betrays its origins as a home-recorded folktronica album—the hollowed-out trip-hop drums of "Nightblindness" bear the requisite influence of Radiohead's "Climbing Up the Walls," while the lightly carbonated shuffle of "Silver Lining" makes Gray sound like he's suspended in a glass of OK Cola for six minutes.
"Please Forgive Me" was also included in the pilot of Scrubs, more indicative than its club cameos of the album's future in meet-cute media. Half of its 10 songs were released as singles, so White Ladder clearly worked as a collection of episodes that could be experienced discretely and repeatedly. There's no linguistic subtext to any song on White Ladder: Recall that Gray's sincerity and plainspokenness are his main selling points, but the lack of specificity leaves space for emotional interpretation. "This Year's Love" likely did soundtrack countless wedding dances and many drank alone to it. The pleas of "Sail Away" are either bravely passionate or absolutely desperate; "We're Not Right" can either be a blithe acceptance of alcoholism's grim fate or an agent for change. "Babylon" tells a story with a clear conflict and resolution that still leaves room for projection—to tell someone you love them or that you loved them or even that you wish you had told them these things. "If you want it, come and get it for crying out loud," and whatever it was, you could get it: "Babylon" was a festival anthem disguised as a counterbalance to the monsters of Glastonbury.
The frontloading of its biggest, most unabashedly optimistic hits lends White Ladder a narrative thread: As I always imagined it, here was a skeptical romantic hitting the bars with a precarious hope of finding connection; slowly sulking into the corner while his friends laughed and flirted; bitterly going home to commiserate with his favorite records. It all ends with an unfathomably sad, nine-minute cover of Soft Cell's "Say Hello, Wave Goodbye" that interpolates Van Morrison's "Madame George" and "Into the Mystic."
White Ladder might not exist without Dave Matthews; Gray promoted the album while opening for Matthews, a close friend and a notable influence on White Ladder's more grating vocal tics—on the title track, when Gray wheezes, "There's no rhyme or reeeeeason," a John Popper harmonica solo wouldn't be entirely unexpected. Eventually, Gray made the relationship officially symbiotic when White Ladder became the inaugural release on Matthew's ATO Records, the eventual launchpad for similarly rootsy sensations like My Morning Jacket and Alabama Shakes.
A curious thing happened: Gray's album, clearly adult-contemporary in both sound and subject matter, became a hit with people a decade younger than the 30-something singer-songwriter. "Gap-year students mouthed the lyrics to 'Sail Away' as they backpacked around Nepal. Young professionals listened to 'Babylon' as they assembled Ikea furniture in their riverside development flats," The Guardian observed; in the same article, Gray groused at the way White Ladder's commercial success had led him to be "dismissed as slight."
To counter that dismissal, the subsequent compilations The EPs 1992-1994 and Lost Songs 95-98 wisely capitalized on Gray's sudden fame while reminding new fans of his humble origins. The right-sizing of his public persona was made explicit by 2002's muted and morose A New Day at Midnight, which began with a song called "Dead in the Water." A New Day at Midnight still sold well, if not quite at White Ladder levels: 4x platinum in the UK instead of 10x, and in America, gold instead of platinum; likewise, the chart success of 2005's Life in Slow Motion could only be considered disappointing by the standards of White Ladder. Life in Slow Motion was Gray's last major-label album before Draw the Line brought him full circle four years later, without a label and recording in his own studio (albeit an upgrade from his apartment to a studio once owned by the Eurythmics).
While White Ladder was virtually inescapable in public spaces during the early 2000s, its influence has dissipated in the time since, though it is audible in the crystalline, cosmic folk of Amen Dunes' 2018 album Freedom. Gray himself suggested that he had paved the way for folk-pop idols like Ed Sheeran and James Blunt. "When I started out, a man with a guitar baring his soul wasn't in vogue at all. Suddenly, it's everywhere!" Gray exclaimed in 2011, despite soul-bearing guitar men being the primary vessel for acclaimed rock music for the past 50 years.
Yet he's not totally wrong. Man or woman, guitar or no guitar, the world will always be full of people who believe that they're the only ones truly baring their soul, doing so in a way that brings them constant misunderstanding and disappointment at their jobs and relationships, an exception in a world where dishonesty and artifice are the rule and guys like David Gray get dropped from their label. And then an album like White Ladder comes along to sell millions of copies and offer the hope that living the exact same way can be the best revenge.
Buy: Rough Trade
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Also next weekend is MetroCON in Tampa FL! I'll be at table E20 with my friend Shannon! COME BYyyy! I'll have prints, comics and fun stuff!
Random question. How old is Morgc? I have to keep reminding myself that he's older than the students.
Wow, this is the first color picture of Mary I think I've seen. I thought, for some reason, she'd be yellow.


text:
MODERN LIVING: A PERFORMANCE INSPIRED BY AVANT-GARDE COHABITATION IN THE SCHINDLER HOUSE
By Jennifer Piejko
Rudolph Schindler had meticulous designs on his own world: The Schindler Frame, the architect's personal manifesto, mandated large entryways and overhangs, continuity between spaces, and low horizontal lines. These theories came to life in the Schindler House, built in West Hollywood in 1922 for himself and his wife, Pauline, and another couple. The new home embodied an avant-garde way of life — designed for seduction, communal living allowed for osmosis of childcare, studio revelations, spouses, and secret dynamics. Many of the most well-known names of the 20th century passed through its scrims and wooden frames: Theodore Dreiser, Edward Weston, John Cage, as well as Schindler's peer and rival, Richard Neutra with his wife, Dione, who stayed perhaps the longest — five years.
This parameter-less lifestyle is the subject of Brennan Gerard and Ryan Kelly's performance Modern Living, an intimate opera of provoked hesitations, dependency, and its inevitable coventry. Staged both inside and outside, a group of nine dancers from the LA Dance Project, each dressed head to toe in one shade — candy red, citrine, olive, turquoise — writhed, exasperated, and undulated in unstable groups, and alone, for over an hour, only to begin again. Opening up the vacillating emotions of even the most solid monogamous relationship to one as fluid as this architecture supports, each performer, taking up the space of an entire room to enact modular movements or swaying, as a couple or a threesome, alternately exhaled loudly, counted hours aloud to themselves, or recited or sang lines to themselves, or each other.
Gerard & Kelly, collaborating since 2003, have often made work addressing the new territories of queer domesticity and the frustrating limitations of public appearances. Living out radical, revisionist principles requires a contemporary setting in order to internalize them. Pauline Schindler, cultural revolutionary and liberal feminist, was crippled by her own supposedly optimal living conditions, and left Schindler in 1927, only to return in the late '30s, caring for her estranged husband, remaining until her death in 1977. Neutra and Schindler, young friends in Vienna who fell out due to professional bitterness while designing the new West Coast lifestyle in Los Angeles, didn't reconcile until they were both hospitalized in 1953, and randomly ended up being wheeled into the same room. In Modern Living, dancers began and ended tightly together, whispering the line "the family is a system of regeneration," the tumbling tensions and gatherings of bodies suggesting that the intellect's avant-garde is no match for the old-fashioned, saccharine ideal: love.
Images courtesy of Gerard & Kelly.
A Show at the Schindler House Harnesses The Soft Power Of Plural Storytelling
By Emma Leigh Macdonald
AUSTRIANS IN AMERICA: How Transatlantic Exchange Shaped Modernist Architecture
By Akiva Blander
INTERVIEW: ARTIST JIMMY ROBERT ON THE BODY, SPACE, AND POWER
By Harry Burke
Arno Brandlhuber's Concrete Retreat in Rocha, Uruguay
By Stephen Froese
BASEL 2018: A selective review of Barns, Bars, and other Sensations


Absurd vintage cologne ads, the Vietnam War from the soldiers' perspective, hilarious 1960s tabloid headlines, Japan's gorgeous rainy season, Times Square's brutal 1970s.
What can you say about these 1960s and 1970s cologne ads that they don't already say — nay, shout with all their might in an over-the-top display of machismo that's utterly laughable today — for themselves?
Each year, from early June through mid-July, the rainy season comes to Japan. Precipitation goes up and tourism goes down. But what those who don't venture to Japan in this short season are missing is the serene beauty of the buildings and landscapes as the rains come down.
Fortunately, Japanese photographer Hidenobu Suzuki is there to capture it all. Enjoy more of Suzuki's photos at 500px.
Before all the Internet gossip, tabloids like the National Enquirer were the place to get all the juicy celebrity gossip. Whether then or now, some things celebrities do are indeed crazy and warrant crazy headlines, but these vintage tabloid front pages from the 1960s are truly ridiculous.
Check out more at Vintage Everyday.


I get a lot of questions about what to do after P90X. This is a very good question as it was one I asked myself. When I completed P90X I was so pumped with my P90X results I decided to go and do another round of it. After round two, P90X was starting to become a part of my lifestyle. When … [Read more...] about What To Do After P90X?