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|Diaflogue: BEFOR I WUS BORN an interview with Zak Sally|
|Written by Jason Miles | Filed under Zak Sally, Diaflogue||2 Dec 2010 8:11 AM|
An interview with cartoonist, publisher, musician, professor and friend Zak Sally. Prompted by the release of Sammy The Mouse #3 and Zak's forthcoming appearance and performance at the Fantagraphics Bookstore & Gallery 4th Anniversary Party.
JASON T. MILES: Sammy The Mouse is one of the funnest comics I've read.
I think it's hilarious, it makes me laugh out loud and I find myself happier after reading and re-reading each issue to date. How much fun is it for you to make these comics? Is the process as excruciating as you describe in Like A Dog?
ZAK SALLY: Yeah, Sammy is a totally different deal; I really and truly enjoy writing and drawing the thing. I won't say that it's all roses, there's always still the problem solving and running up against your own limitations and inevitable crises of faith, but, you know: that's COMICS! There definitely is a feeling of "holy crap this is great there's nothing I'd rather be doing" more often than not while working on Sammy.
And yeah, in a lot of ways Sammy was a reaction to the whole thing I had going on with comics up until the Like A Dog and Recidivist material; by the time I finished Recidivist #3 I just thought – this is ridiculous. If I can't find some way to get some kind of happiness through this then I ought to just give up, for real. I'm supposed to LOVE comics, not hate them. I wasn't sure it'd work at the time, but it did, somehow.
I think I'd gotten too wrapped up in that "comics are SERIOUS" thing, and forgotten what a great medium comics are for just...telling a story. That writing an entertaining, engaging comic is... as big a deal as some snooty-assed art comic. Like those old issues of Hate ... man, each one came out and it was JAM PACKED-- after reading it you felt like you'd been to the free buffet at the casino but all the food was GOOD: more story than you could handle, at least a couple for-real-laugh-out-loud moments, great characters and art, a LETTERS PAGE... GOD that was a great comic book. Pete Bagge is an AMERICAN TREASURE!!
Sammy is still pretty slow and boring compared to that stuff, but what you wrote there at the top makes me feel really good; I want it to be fun, and funny.
I think it's funny, and it makes ME happy, so...
My only problem is that I can't find more time to work on them, get out at least a couple a year or something.
MILES: As you know, I'm also a big Bagge fan and similar to his work Sammy possesses a real sense of terror and consequence. In Sammy I think the hardest laffs quiver shoulder to shoulder with disaster. Can you speak a little more to how you're making comedy with dread and horror in Sammy? I mean, the skeletal bastard is simply awful! and when Pat the rabbit bartender hammers a nail into Feekes forehead...!!!
SALLY: Actually, I'm not entirely sure I can speak to that. Again, sort of in response to how I used to make comics, I really consciously set out with Sammy to not... over-think too much (as that hadn't got me anywhere all that useful in the past). I mean, yeah-- I've got a tendency to take stuff too seriously in real life, but I don't really walk around all day in a haze of existential dread, you know? I'm a FUNNY GUY, and... I think really hard about the story, and the structure and the mood and all that; I really do sweat the details but when I'm writing and drawing the thing, a lot of it is really, "Does this feel right?" If it does you nail it to the ground and if not you burn it off (note: this is harder than it sounds).
If something makes ME laugh, then... it's right, period. Thinking TOO much about it will kill it dead (I know this from experience).
And, you know: the "terror" of life is so subjective, and so is humor.
some folks will say that ALL humor is based on suffering... but all those people are pretentious, insufferable windbags, and can go get fucked.
With that said, I think when Sammy's all said and done, what it might be "about" is consequence. Maybe. We'll see I guess.
I need to work on being more inscrutable and mysterious: it increases sales.
How am i doing so far?
MILES: I think you're doing good-- wait! Do you mean "how am I doing at being inscrutable and mysterious?" or "how am I doing sales-wise?"
SALLY: (long, uncomfortable pause.)
I'm not telling.
MILES: Ok. Stepping back a bit... are you sure not ALL comedy comes from suffering?
SALLY: Hmm. Maybe you should go get fucked? No you're probably right. Or somebody is. Somewhere.
MILES: I want to try to get at some point of origin with Sammy. Where is all this stuff coming from, not just the comedy (and suffering) but the world and characters and colors? Has this stuff always been with you?
SALLY: Uh....ok; I should've known you'd make me put this stuff into words.
I really don't think any of this was CONSCIOUS, but... certainly, starting Sammy was a very definite and purposeful change in what I wanted to do with comics, in that I knew I no longer wanted to ALLOW MY OWN COMICS to MAKE ME MISERABLE AND INSANE which just so happened to coincide with some pretty heavy duty changes in my life: I quit the rock band, got married, bought a house, quit drinking and smoking and had my son Isaac in a pretty short stretch of time. I think the biggest factor in how Sammy looks and feels was that… my trying to figure out how to ENJOY making comics; and in doing that, it inevitably leads you to thinking about a time in your life when you enjoyed READING comics. Not through the filters of adulthood and "Art" and all that, but just that really pure..."I'm reading this because I LIKE IT, and it MAKES ME HAPPY." And besides, having a kid also just makes you think about that time of life, and being a kid, and how those things affected you back then and why they affected you.
I mean, there's a LOT of stuff that I'm remembering or half-remembering from childhood in Sammy, and I'm not questioning that or trying to analyze the hell out of it, but it's there, and it's semi-purposeful… "that skeletal bastard" you referred to (whose name is actually "Him") is lifted directly from one of the first drawings I ever remember doing. I still have this crazy memory of drawing it so I searched it out and luckily my Mom still had it... You know, it's hard to have peaked artistically art such an early age.
Seriously; I hope to someday do some comics and stories that my kids (and possibly other people's kids) can enjoy. Sammy isn't that kind of book by a long shot, but it's a quantum leap closer than anything I've done previously. I think it takes a very specific kind of intelligence and maturity to write and draw something that a kid will ENJOY… they do not like to be talked down to, pandered to, or lied to. It's very difficult to fool a kid in some ways (and yes I know in some ways they are really easy to fool), and if you read the best kids books, they treat kids like what they are… people. People who haven't really learned the finer points of bullshit quite yet.
There's this visual stuff… from whatever sources, comics, movies, etc and I think it just burns its way into your brain when you're a kid, you never forget it. Some folks feel like there's some VERY SPECIFIC touch points that I'm hitting in Sammy, even to the degree that they think it's some kind of post-modern take on an extant set of characters... which is horrifying to me. This is not and NEVER WAS my intention in any way shape or form. In fact it makes me ill to think it's being taken as a pastiche or something... not that I can't see people's reasons, just that however delusional I may seem, it was never, ever a conscious thing on my part). Never. I'm just trying to enjoy letting it all... I've used the term "vomit it up," but vomiting isn't fun and this mostly is.
And, like I said: I think that might be a bit of the "origin" you're talking about here, but it really is not something I'm "trying" to do... I'm just trying to... be true to this idea I've got, this story I'm creating that frankly is starting to write itself the farther I go with it.
And maybe the fact that it's all that stuff but ALSO it's, you know, got my experiences as a man pushing 40 banging against these really... kind of innocent childhood stuff that's making things terrifying.
Crap; I forgot to be inscrutable and mysterious.
MILES: Ah, being inscrutable and mysterious is overrated anyways... speaking of inscrutable and mysterious, what can you tell our readers about the seemingly unrelated panels of lamps and light switches?
MILES: Is the disembodied voice Sammy talks to God? You? Are you god? I have to ask.
MILES: You have quite the reputation for being... grumpy--
SALLY: Really? That's too bad. Am I really that grumpy?
MILES: Well... yeah, but thats ok. I've just heard stories about people encountering you at conventions in the 90's and... but you're happier now and you're also a professor!
SALLY: As far as being grumpy, the glib answer would be "I got on some medication," but... I don't know; I wouldn't describe myself as a terribly easygoing guy, but I'm nowhere near as wound up as I used to be. Some of that's lifestyle stuff, some just getting older and such. Having a family has really changed the way I view the world for the better I think.
And, uh… I'm not a professor: I don't know what my title is, but it ain't that. I've been teaching comics full time at the college level for the past 2 years here in Minneapolis (at the Minneapolis College of Art and Design, or MCAD). It happened because MCAD is one of the few places in the country that offers a degree in Comic Art, and they needed someone, so I gave it a shot. And, you know… I was offered a salary, with benefits and health insurance, and MAKING comics sure as shit ain't paying the bills. I was absolutely terrible at first, because teaching is a SKILL that you LEARN just like any other skill, but... I've always had kind of a (slightly irrational) beef with higher education, and art school in particular: "you can't TEACH someone this stuff!!!" I'm completely untrained in, um... everything, and so the idea that I'm teaching anyone this stuff is somewhat ludicrous.
With that said, I've really come to enjoy teaching a LOT, and I think maybe my (and my generation as a whole) experiences learning comics "the hard way and on your own" makes me a pretty good teacher, as does the fact that I have no idea what a college class is SUPPOSED to be like in the first place, because I never had that experience myself. There simply WAS no program for learning comics; and having to pull them apart from the inside out has been a really interesting experience for me, too. There's an insane amount of skills and knowledge required to being a good (or even decent) cartoonist; I definitely think there is a real and tangible benefit to having a directed, focussed program shown you by someone who can help guide you through that process. At its best, it really puts you through your paces.
You see folks with incredible amounts of God-given talent just kind of piss it out the window, and you see folks who seem to not have a shred of talent really dig into what's being shown to them, and it really can be miraculous in some ways. You see people learn stuff from week to week that it took you YEARS to grasp on your own. And, I don't want to sound like an idiot here, but there's been some times where I've actually been able to... use my experiences in comics in a way that I can actually help people learn. And it's one of the better feelings I've ever had in my life; it actually beats, you know... playing in a rock band or some of those other things that are supposed to be awesome but are often just kind of strange and don't make any sense.
You didn't ask all that though. I just went on and on about it.
Yeah, teaching. I like it, and would like to keep doing it on some level. Full time was a little much, but...
MILES: Whatever you say, professor... Who is H.G. Feekes?
SALLY: Check one box: He's me. He's not me. He's the guy who held my pants up for 6 years. He's a duck. All of the above.
MILES: I like all the cameo's in Sammy: John P.'s Racky Raccoon (issue 1), Mr. Mike's Carl Urbanski (issue 1), Kim Deitch's Waldo (issue 3) and Crumb's Weirdo #16 cover (issue 3). Can you explain why you've included other cartoonists' characters in YOUR comic?
SALLY: Well, again, I just felt like I should; it makes perfect sense to me. When I wrote earlier about how Sammy is a result of my remembering how I LOVE comics, I just thought it was a gimme to include some of those characters. I'm not sure if it's a wink or a nod or what, but... there's comics history and then there's Comics History and then there's MY PERSONAL HISTORY WITH COMICS, which probably plays a bigger role in my life than I'm comfortable admitting.
People think of John Porcellino as this one type of cartoonist, but those early Racky Raccoon stories are HILARIOUS. Nobody knows who Carl Urbanski is, but I do. Mr. Mike never really gave a shit about comics (unfortunately, because he was pretty damn good...), which is why I felt perfectly justified in flat-out stealing that character from him (also he said it was ok). All the rest are cameos, but Urbanski actually has a pretty major role in the story. I gotta email Pete Bagge and see if he'll let The Goon On The Moon be in the next issue. Or Chuckie Boy. Or Stretchpants.
They all count, and it's my goddamned comic.
MILES: Visually, Sammy is quite different from the majority of the work in Like A Dog. What led to the addition of color and how has it changed your process and the way you think about comics?
SALLY: Color has never been a priority of mine... all the best cartoonists do perfectly well in black and white, and just getting good with those tools is enough to spend your life studying.
To be honest, I can't even remember specifically what led to the color process I've got going in Sammy. It was mostly a response to the fact that the books were to be presented in 2 colors, which got me thinking "well, how much can I get out of that? What can I do that'd be interesting?" So I somehow landed on the insane process I'm doing now. There's the real "normal" use of a second color, which can be used to fantastic effect (I think of Clowes' Ghost World here) just for mood and tone and visual stuff, but then there's stuff that REALLY sticks out visually, like that Mazzucchelli strip from Rubber Blanket (where you realize he isn't using any "outlines", he's just creating and delineating through how he does or doesn't use or overlay the colors, which is just... unbelievable...) or what Debbie Dreschler did with Nowhere. I think Sammy falls somewhere in between those, in terms of how the color gets used.
There's no question that color affects the story… it's something I've been learning on the fly. Take a B&W panel and "color" it. Now fill it with red. Now fill it with baby blue. Each one of those panels will read differently, you can't avoid it. You've got to take it into consideration; for me, I've found that 1) it should be there for a reason and 2) the less you "notice" it, the better. That new Captain Easy Sundays book has been a revelation to me; the colors are so fucking beautiful, yet they don't detract from the story in the least; any time a "technique" is interfering with what's important on the page, it's trouble.
I'm happy with how the colors in Sammy work for the most part… when it works, it really adds depth to the page, and there's places where it helps the storytelling in reasonably subtle ways, as well. There's some spots where it's NOT successful, and I'll have to change later (in book collections or whatever). Almost invariably these are the spots where the "technique" calls attention to itself, which is a nice way of saying "I didn't know what the hell I was doing." It really all needs to be in the service of the storytelling, period.
There's a part of me that would someday like to see the thing in full color, when it's all done. I wouldn't want to do the coloring, myself, I think... there'd have to be good reason too, I suppose; most modern coloring looks really boring to me; I love flat Tintin colors as much as the next guy, but... there's that old school and old world color sep stuff that is just unparalleled to me… like the Easy stuff I just mentioned, but that's the tail end of the early century newspaper strips, or those Norakuro books. I'm not talking some nostalgia thing, I'm saying they are just indescribably understated and beautiful; there's an artistry there that is incredible. Too bad it's a totally dead art form.
MILES: Its hard for me to imagine your work in full color. Your stuff makes sense in black and white or 2 color...
SALLY: Yeah, I know… but I'm still gonna try it one of these days. I'm drawing the Frankenstein book for color... we'll see.
MILES: Your comics have always reminded me of homemade tattoos: personal, symbolic and PERMANENT. In fact, while we were putting together Like A Dog I couldn't stop thinking about that tattoo on your leg. Whats the story behind that?
SALLY: It's some teeth. And a screw. The "story" is... let's see; I was living in a punk rock house on Webster street in Oakland; maybe '92 or something, '91. In any case my friend Spanky says there's this woman who just landed at the Maxipad (yeah, that's right... all the ladies from Spitboy lived there... and Jason, come to think of it, who's in Green Day now) who does tattoos. So we go over there and meet her and get drunk; she's this tough-ass scottish woman who's just come over from a couple months in Thailand... basically she's been all over the world, just paying her way with the tattoo gun she hauls along with her. Now I hear this and think: "that's for me." I guess even then I knew that making MONEY drawing comics would be a tough deal, and also knew that "illustration" was… well, I'm not sure the idea of being an "illustrator" even crossed my mind as a valid thing. Anyway I knew I could draw some, and thought that was a skill that I might be able to do something with. Maybe I could pay my bills with tattooing and do my comics on the side, you know? So I say to Morag (that was her name) will you let me learn how to do this and she says sure you bet. Do one on yourself then do one on ME. So I came up with this design and got a bottle of whiskey and spent… I don't know, 6 hours trying to figure out how to do this on my leg. Bzzzzzzzt. Originally the drawing had these crazy big cartoon eyes and neat concentric circles but after 6 hours my leg was shaking (and I was drunk) and I just said "that's it I'm done." They came home from a party or something and I was so whacked out Morag was absolutely convinced that I was a junkie (I wasn't). Then I did a bulldozer on Morag's arm and the whole time she was just yelling at me "that line won't stay; you've got to punch deeper" or whatever, and I can honestly say it's the most stressful drawing I've ever done in my life. And basically, drawing doesn't have all that much to do with being a good tattoo artist: it's a real manual skill, a real knowledge of how skin takes ink or whatever. I didn't stick with it... decided it was too hard, or didn't like it. I quit.
It's kind of too bad, because that was the beginning of the tattoo "boom" where it seemed like every human under the age of 30 started getting tattoos (a "trend" that, unbelievably, still shows very little signs of fading). It was actually a GOOD IDEA for me, and if I'd have stuck with it a bit, I probably could've made some kind of living (doesn't Sophie Crumb pay bills with this? I thought i heard that somewhere...). Unlike comics.
Last I heard, Morag had a couple prominent shops operating in Edinburgh. Of course, I was totally in love with her, but she and Spanky hooked up and they were together for a couple years. Morag was pretty awesome. Spanky too. long time ago.
MILES: Thats a great story-- wait! Back up! What's this about Frankenstein!?!
SALLY: He's this monster. Big, green. Got bolts in his neck--
MILES: Are you doing a Frankenstein comic? I'm trying to get you to spill the beans
SALLY: --not so good at talking. Doesn't like fire. No, ok, I'll tell you… I was teaching a class and making everybody try to draw in the style that is the POLAR OPPOSITE of the way they draw "naturally" (they HATE this...) and sometimes when I'm being so outwardly cruel I'll do it too as some kind of gesture of good faith, and pow... there it was. Just this drawing of Frankenstein half way between Dick Briefer and, I dunno; Hal Foster. Don't know where it came from or why.
And, it was at this time that I was also making my periodic bid to SELL OUT, and BIG: like "hey, everyone, I've got this crazy SALEABLE idea and I'm READY TO GO. You know all those "graphic novels" that are doing really well and everyone loves them? This is LIKE THAT; I'm fully prepared to have editors tell me what to do and how to draw and all that crap, just PAY ME. Nominated for Eisners, blah blah blah. Just give me BARELY ENOUGH MONEY TO LIVE ON while I do this thing and we're good to go." Talking to agents, getting editors numbers, all that shit.
And no one had ANY INTEREST WHATSOEVER. You know, waving my arms in the air "PLEASE LET ME SELL THE FUCK OUT."
And, not a single nibble.
Which is good, because if I'm TRYING to sell out and no one'll have me, then what's the point in not doing EXACTLY WHAT YOU WANT? I might as well do the dumbest, most ridiculous and unsellable idea I've ever had. So. 62-page European-style Frankenstein story. Self-contained, full color, totally silent.
The art style of Sammy was a very conscious effort on my part to loosen up from my previous style; more about an expressive kind of energetic thing than "good" drawing. But I miss some of that... drawing the heck out of stuff. I wanted to have an outlet for that, too... anyway I was pretty gung ho on it and thumbnailed 1/ 2 of it, did a couple test pages full-sized, in ink. It's not so much that I lost steam on it as that... Sammy has got to be my priority, I think.
The story... I've got enough that I've GOT TO do it someday. I just don't know when that day will be, right now; I've got a couple hundred more Sammy pages banging on my door.
I mean, if anyone reading this wants to give me 30 grand, I'll have it done right away.
I'm sorry that i'm swearing so much.
MILES: I'll be counting the days until your Frankenstein comic comes out.
SALLY: Keep counting, brother.
MILES: It sounds great and from the way you've described it to me in other conversations I can already see it.
SALLY: Wait... you've got 30 grand? whoo hoo!
MILES: Regarding the BUSINESS of comics... and since you've brought up MONEY and SELLING OUT... what's the deal? You go from searing, oblique, from hunger comics (Like A Dog) to Sammy The Mouse and Frankenstein? Are you trying to plant your flag in the world of popular entertainment? Are you really trying to be saleable?
SALLY: More like trying to plant my flag in UNpopular entertainment.
I think I touch on this a bit in the notes to Like A Dog, but... I'm really not sure who that early work was for. Or what it was... it wasn't stories, and it sure as hell wasn't meant to entertain anyone. I was just trying to figure some stuff out.
It wasn't fun to make, and probably not much fun to read. This is a much bigger, longer conversation than we can have here, but... as I was coming into comics, they were still in this transition phase... certain amazing stuff was going on, but as far as proving that comics could be a mature medium of expression to the world at large, there was still a pretty big chip on comics' shoulder; a kind of "yeah, PROVE IT." In that time a lot of comics got very serious in some ways, be it subject or as Art or just in terms of intent. Comics needed to prove they could be "real" art, or literature, or whathaveyou. And my stuff... I don't think it was all that experimental, but it was definitely trying to address some stuff that has nothing to do with standard entertainment or storytelling. In any case, all that stuff is a dead horse now. Comics have proved beyond any shadow of a doubt that they're plenty capable of handling whatever the hell the cartoonist wants or needs them to. But there's still that holdover of "seriousness" somehow… the idea that "Art" and "Entertainment" are somehow mutually exclusive... you know… "real art" isn't ENTERTAINING; "entertainment" is a crappy TV show or one of the million crappy movies that come out every year. Or that "I bless the rains down in africa" song.
I bought it somewhat too; it's a really thin line. I don't want to make SHIT, but I'm not going to be afraid of being entertaining anymore, that it somehow automatically lessens the work. Comics can be a blast to read, and that's what I want; I want to be so excited by the story I'm telling that the reader HAS to come along with me (and if they're not interested I don't want them messing up our fun anyway).
I think I used to be afraid of having an audience. This is no longer the case; I believe deeply in what I'm doing here, and would like as many people as possible to read it, period.
The "selling out" stuff in the previous answer is half kidding, of course, but... there's lines, you know? That particular thing I was pitching I think had some legs to it. John P. probably never would have done that Thoreau bio on his own, and I know it was strange for him at times to have an editor when he's so used to being his own editor after 20 years of King-Cat, but that book is still 100% John P; as a reader, I'm really glad he did it, and as a friend, it was great to see him make some $ off his labor. It wasn't a million bucks, but it wasn't the (LITERALLY) 5 cents an hour you get off of making "alternative" comics, you know? The thing I was pitching might not be my very first choice of what I'd spend my time working on, but hell: it'd be 1) a comic book 2) written and drawn by me that 3) I'd get paid for. I'd get paid to make comics. There is nothing wrong with getting paid to do a job, and doing the best you're able to do given the river you're swimming in, as long as... the river isn't made entirely of excrement. "Selling out" I think is... pandering, or doing stuff for a buck that you morally or ethically just can't get behind. There is PLENTY of that horrible, soul-sucking garbage in the world, and it's no joke. It's a real thing. But the plain fact is: you have to find a way to AFFORD to keep doing this; the unfortunate fact is that it's very, very difficult to make any kind of living doing "non-mainstream" comics. I'm not a kid anymore... I've got a mortgage, 2 (awesome) children, responsibilities. I am NOT complaining; I wish it were different and maybe someday it will be, but... most people get paid to do shit that they HATE doing. For their whole lives, sometimes. Who the hell gets to do exactly what they want to in this life, anyway?
I'm really not trying to be saleable, or selling out. I am doing what I love doing, how I want to do it. Insert cliché here, but it's the damn truth. I AM 1000% invested in telling THIS STORY, and in making it as engaging, immersive and entertaining as possible. And, obviously, Sammy is exactly the story I want to tell, and with Fantagraphics, I get to tell it EXACTLY how I want to tell it, period. You guys are pretty goddamn amazing in that respect, and sometimes I think that people forget Fantagraphics' role in letting cartoonists develop that way. In fact I'm not sure what comics would look like without Fanta, sometimes.
I'm realizing something about Sammy recently. I don't know how this is going to sound to the rest of the world, but... Look: you're in the "arts", or whatever, and you're in for the long haul, in whatever discipline. It's your vocation. At a certain point you begin to be able to see some recurring patterns, or peaks and valleys, creatively. Sometimes you're driving, sometimes it's driving you, etc. There's times when you're totally lost and you keep doing stuff just because you have to, be it $ or compulsion or inertia or 100 other things. Sometimes you're floundering, it just happens (and sometimes floundering even works out ok, because you stumble onto something...). But sometimes... sometimes you're NOT. Sometimes you know perfectly well what you're doing.
I've had this feeling a (very) few times in my life, most notably a certain period with Low. Just by years of experience and honing our aesthetic and touring and whatever else, we were just....ON. We just KNEW what we were doing, how we were doing it, and that we were capable of delivering if we just kept our wits about us and did or work. We weren't the BEST, but there was nobody who could touch... our little corner of sound. Nobody else in the world could do that thing, because it was OUR THING, and in that sense, we were unstoppable. It wasn't chest-beating or cocksure. It was a very good feeling. I know when I interviewed Jaime Hernandez he said he felt something like that about the "Death of Speedy". Stevie Wonder in the 70's. Whatever. You're just... certain. Certain about what you are doing. And in all honesty, that's the way I feel about Sammy. I'm not saying "it's TOTAL GENIUS" or equating myself to any of those artists I just mentioned or anything like that, I'm just saying that's what Sammy is for me. Maybe people will like it, maybe not, but for me... this is IT (and you also get enough experience to know that when you get to that spot, you better make the best of it because it's a window that can slam shut, too, real quick-like...). I've spent longer than most LOOKING for what I'm doing, and now... I'm here. I know what I need to do, I know where this is going, and I can see what it's going to look like when it's all wound up 7 years from now or whenever… and it's incredibly exciting to me, in a way that makes sales and money and all that of that other stuff not get to me so much. And on that level, I want very much for people to read the damn thing. I'm NOT doing comics "for me" anymore... I'm doing comics for PEOPLE TO READ; that is their point, that is their PURPOSE, that's why i'm making them.
Telling stories is something human beings have ALWAYS DONE. Always. it's what i'm doing right now, and I'm trying to do the best job I can with that.
God, I love comics so much. They will ruin you. It's sad. And awesome.


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Looks great and runs well -- $22,500
More photos to come. Ask for any specific
photos you would like to see!
FACTORY STATISTICS from Automobile-Catalog.com
1964 Plymouth Sport Fury 2-Door Hardtop
Commando 383 TorqueFlite (VP2) (aut. 3)
Model year 1964, RWD (rear- wheel drive),
Automatic 3-speed gearbox
Gasoline engine with displacement:
6286 cm3 / 383.6 cui,
Advertised power: 246 kW / 330 hp / 335 PS
(SAE gross), Torque: 576 Nm / 425 lb-ft
Outside length: 206.5 in
Width: 75.6 in
Wheelbase: 116 in
Estimated curb weight: 3590 lbs
How fast is this car?
Top speed: 193 km/h (120 mph) (©theoretical);
Accelerations: 0- 60 mph 6.8© s; 0- 100 km/h 7.2© s
1/4 mile drag time (402 m) 15© s
Fuel Consumption and Mileage:
Average estimated by a-c©: 24.2 l/100km /
11.7 mpg (imp.) / 9.7 mpg (U.S.) / 4.1 km/l


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Super 5 in 1 PDB Hub w/ 5V LED controller & 5V+12V Dual Output BEC
Old Price: $8.76
Special Price: $4.38
Part Number: HP-FPHUBV3
The Hyperion 5 in 1 V3 system has been engineered to provide the highest possible performance and reliability in a 46 x 36mm sized PCB. The 5 in 1 system combines a printed distribution board (PDB) with 5v-3A / 12v-500mA BEC, LED light controller, lost model finder and low voltage alarm functions.
The 5 in 1 system has been specifically designed for use with 250 sized racers, though it's also suitable for larger multirotors. The built-in 5v BEC can be connected to receiver or flight controller with aux pins directly to simplify your set up. The 12v BEC can be used to power the camera and video transmitters.
The built-in 5v LED light controller has 3 light modes which can be set up to change with the toggle switch on your transmiter. The lost model buzzer can also be triggered with the toggle switch making it super easy to find your multirotor in the event of an incident. The 5 in 1 system also acts as a battery voltage monitor. Once voltage gets below the set threshold the audible buzzer & LED light will remind you.
- 5 in 1 function
- Compact & light weight
- 2oz copper & 4 layered PCB design
- Paired ESC & battery solder tabs
- BEC 5v & 12v output LED indicators
- TVS input protection
- Input Voltage Range: 7~26v DC, 2~6 Cell LiPoly
- Dimensions: 36 x 36 x 6mm
- Weight: 7g
- Mounting: 30.5mm, F3mm
Included in the package:
- 1 x 5 in 1 power system
- 1 x Nylon fixing set
- 1 x Jumper cable


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Nordstrom promotes Teri Bariquit to chief merchandising officer
Seattle-based retailer Nordstrom has announced the appointment of Teri Bariquit to the newly created role of chief merchandising officer.
In the role, Bariquit will serve as a member of the company's executive team, leading the full-price and off-price merchandising areas, the company said. She will report to co-president, Pete Nordstrom.
Bariquit has spent 33 years with the high-end retailer, most recently serving as executive vice president of merchandise planning and solutions, where she supported merchandise planning, inventory deployment, solutions and strategic capabilities across all channels, the company said. She began the role in 2012.
"[Bariquit] has been an integral part of the development of this team and she is well positioned to lead this organization into the future as we evolve our relationships with our brand partners and deliver the best products to our customers," said Nordstrom. "[She] has demonstrated unparalleled understanding of our customer needs and has an excellent grasp on the complexities of our industry.”
"I'm excited to work with the entire merchandising organization as we continue to execute on our customer strategy in this rapidly changing retail landscape," said Bariquit. "We must move with speed and leverage data-driven strategic insights to meet customers' needs, and I'm thrilled to take on this new challenge alongside a world-class team."
Nordstrom reported better-than-expected quarterly profit earlier this month, after the company announced that it had cut costs and cleared more inventory. The retailer, which has focused on elevating its digital platform and offering more on-trend product assortments in order to appeal to Millennial shoppers, saw digital sales rise 4% for the second quarter ended August 3. Despite weaker sales at its full-price department stores and Nordstrom Rack stores causing revenue to decrease 5% to $3.87 billion, the overall positive report sent company shares up 10% in extended trading.
Copyright © 2022 FashionNetwork.com All rights reserved.

domain: economics


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Championship Defenses Beginning in Earnest at Northeast Classic
Waterbury, VT and Naples, ME — The inaugural Northeast Classic debuts this Saturday, April 17 at Loudon’s New Hampshire Motor Speedway. Although the prestige and big payday of winning at “The Magic Mile” is foremost in many racers’ minds, the card is also an early proving ground in five different major regional touring series.
The American-Canadian Tour (ACT) Late Model Tour and Northeast Mini Stock Tour (NEMST) have their first point-counting events of the season on Saturday. For the Pro All Stars Series (PASS) Super Late Models, it’s their second North Series and third National Series events of the year. The EXIT Realty Pro Truck Challenge has its second event of 2021 after they and PASS North debuted at the Thompson Speedway Icebreaker That means for defending champions Jimmy Hebert (ACT), D.J. Shaw (PASS North), Mike Hopkins (PASS National), Desmond Skillings (NEMTS), and Duane Noll (Pro Trucks), a strong run at the Northeast Classic would put them in great early position for a championship defense.
In the process, they get the chance to shine at New England’s only superspeedway. NHMS is the region’s biggest motorsports mecca, and the Northeast Classic allows anyone from touring legends to low-buck weekly warriors an opportunity to race there.
“I think events like the Northeast Classic are good for short track racing in general,” Williamstown, VT’s Hebert said. “It’s good for sponsors because you can get them recognized on a bigger stage. We’ve seen the success the Dirt Track Nationals had at Bristol, and then the Short Track Nationals of the last couple years. I think if more regions around the country started doing things like this, it would be good for their individual series, and it would be good for different tracks allowing small teams to compete in big shows like that.”
Hebert is coming off the season of his life, posting two ACT Tour wins and a perfect record of top-10 finishes. It’s no secret how badly he wants to add an NHMS winner’s trophy to his collection. Hebert has three straight runner-up finishes at “The Magic Mile” dating back to the days of the ACT Invitational. Now that the Hebert Excavation team finally has the championship they’ve been dreaming of, they can go for broke at the track they crave the most.
“I remember going to the very first ACT Invitational (in 2009) back when I was racing Tigers and watching from the stands,” Hebert said. “Me and my dad looked at each other and said, ‘we’ve got to win this race someday.’ Obviously, we don’t have the Invitational anymore, but luckily we still get to race there.”
“Starting the season at NHMS will actually be better for us,” Hebert continued. “Last year we couldn’t be really aggressive with the setup or my driving because I had a point cushion I was trying to protect going into the last race. So we had to go about things a lot differently, whereas at the Invitational, there were no points, so you just went for it. We’ve won the championship now…so there’s no points lead to protect this time. We’re going to go for it.”
Many other ACT stars look like potential NHMS winners and championship contenders. Center Conway, NH’s D.J. Shaw and Turner, ME’s Ben Rowe, both multi-time PASS champions, begin full-season ACT campaigns at NHMS. Shaw finished second in ACT points for 2020 while Rowe won the season finale. Warwick, MA’s Tom Carey III has multiple top-10s at NHMS while N. Darmouth, MA’s Derek Gluchacki is aiming for greater things after winning the 2020 ACT Rookie of the Year award. Ryan Kuhn, Bobby Therrien, Woody Pitkat, Stephen Donahue, Jesse Switser, Dylan Payea, and others fill out an impressive early entry list.
On the PASS side, Shaw got a solid start at Connecticut’s Thompson Speedway last weekend in his bid for a fourth straight PASS North title. Hopkins, meanwhile, began his PASS National Championship defense with a pair of podium finishes at North Carolina’s Hickory Motor Speedway. Both know a win at New Hampshire Motor Speedway, with its $5,000 prize, would be a big boost to their title dreams and bank account.
They’ll both have to beat Rowley, MA’s Eddie “The Outlaw” MacDonald to win this weekend. PASS has held two previous NHMS events in its long history, and MacDonald won both. Hudson, NH’s Derek Griffith has won all three PASS-sanctioned events this year, meaning at least one perfect streak must end. Johnny Clark, Travis Benjamin, Gabe Brown, Ben Ashline, Curtis Gerry, and Ben Ashline are among those trying to end the run for both.
In the North East Mini Stock Tour, Antrim, NH’s Desmond Skillings begins his title defense. Skilling won the 2020 championship by a single point thanks to a victory in the season finale. Another former champion, Berlin, NH’s Cody Leblanc, is one of his likely challengers. So is Contoocook, NH’s Emerson Cayer, who has multiple top-5 finishes at the track.
Defending EXIT Realty Truck Series champion Duane Knoll started his campaign with a fourth-place finish at Thompson Speedway. However, 2019 champion Gerard “G-Rod” Giordano Jr. sits on top of the standings after edging Ryan Vanasse for the win. Young Emma Monahan is off to a strong start, too.
Although the Open Tour-type Modified and Open Street Stock events don’t have points on the line, there are still some big names chasing big prize money. The expected Modified entry list includes many stars from the Thompson Outlaw Open Modified Series opener last weekend, including top-10 finishers Bobby Santos III, Craig Lutz, Sam Rameau, and Mike Christopher Jr. Other early entries are recent Martinsville Speedway winner Eric Goodale, veteran Charles Pasteryak, and rising youngster Chase Dowling.
On the 8-Cylinder Street Stock side, you have Danielson, CT’s Ryan Waterman, who just missed the winner’s check at the Thompson Icebreaker. Fellow top runners from that event such as Kyle Gero and Jimmy Renfrew Jr. are planning for a second round. Fans should also watch out for Corey Hutchings, who won the Street Stock Showdown Series event at NHMS in 2017.
The Northeast Classic at Loudon’s New Hampshire Motor Speedway makes its long-awaited debut this Saturday, April 17. A six-division card features $5,000-to-win events for the ACT Late Model Tour, PASS Super Late Models, and Tour-type Modifieds. The EXIT Realty Pro Truck Challenge, 8-Cylinder Street Stocks, and North East Mini Stock Tour are also on the card.
Qualifying begins at 11:00am with features at 1:30pm. General admission is $30 for adults and $10 for kids ages 12 and under. Tickets will be sold at the track on race day. A live pay-per-view is available on Speed51.TV for $29.99. Visit www.acttour.com/northeast-late-model-classic for the complete schedule, registration forms, and other info.

domain: hobby


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Kim Kardashian has finally opened up about her alleged fight with brother Rob Kardashian that prompted him to jet out of Paris ahead of his sister's big day.
During an appearance on Tuesday's "Watch What Happened Live," Kim said that her brother left her a long email detailing the reasons for bailing on the wedding.
"He sent me a long email the morning of, that he was going to leave. There was no fight," Kim told host Andy Cohen, reported Us Weekly.
"I just thought, 'You know what, this is my day, I'm not even going to worry about it,'" continued Kim. "I totally understand that he wouldn't want to see a lot of people if he was feeling uncomfortable and you can only pray and wish that someone would not miss out on more memories in life, because life is about memories."
The "Keeping Up With the Kardashians" star added that she gets frustrated that Rob doesn't do enough to deal with his problems, but insisted that they are as close as ever.
Kim is all about tough love, and even though she has drawn flak for being insensitive to Rob's problem, Kim insists that she has reached out to her brother and tried to help him sort out his issues.
"I try to encourage him," she said. "And once you don't make that change for so long, and it's not happening, I get frustrated. My patience runs out,"
The recent episodes of "Keeping Up With the Kardashians" have been touching on the problems faced by Rob, who recently missed out on the family's vacation to Thailand. Although it wasn't revealed why he flaked out on the trip, rumour has it that Rob wasn't comfortable with the cameras following every move.
It was earlier reported that Rob decided to skip Kim's wedding because she kept criticising his weight gain, and that she felt he would ruin her "perfect wedding." Reportedly, this led this to Rob calling out Kim and her husband Kanye West for being superficial, and also for flaunting their wealth.
"Rob said he was sickened by Kim and Kanye's display of wealth and clothes and beauty and called it 'superficial bullsh*t' but Kim was pissed that Rob hadn't made an effort to drop any weight over the past few months. Rob basically thinks Kim cares about him only for his appearance and he said he'd 'make life easier' for her and just leave," a source told X17.
"He just doesn't seem to feel comfortable or happy around his family at all. They're all wrapped up in the same pretty world and he just doesn't fit in."

domain: entertainment


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There are about 4,000 women in prison. Two thirds are mothers of children under 18; about a third are lone parents.
Nearly 18,000 children are separated from their mothers each year when women are sent to prison. Just five per cent of children whose mothers are in custody are able to remain in their own home. Leaving home, changing school, and being separated from mothers can be very difficult, and in many cases traumatic, for children.
The rights of the child
In 2001, three judges in the Court of Appeal looked at the harm which may be done to children when a mother who is a child's main carer is sent to prison. The case concerned two mothers whose children were in a prison Mother and Baby unit.
The judgment said that all sentencers, judges and magistrates, must bear in mind that the Human Rights Act 1998 obliges all public bodies, including the courts, to comply with the European Convention on Human Rights (ECHR). Article 8 of the ECHR states that everyone has the right to respect for private and family life.
Sending a mother to prison will interfere with the rights of the child. So judges must conduct a 'balancing exercise', weighing the rights of the child against the seriousness of the mother's crime.
In prison on remand
Recent data show that on 30 June 2013 there were 3,853 women in prison. Of these, 604 women were on remand, accounting for 16% of the female prison population.
Mothers imprisoned on remand are a considerable group, they are not yet convicted of any crime: when it comes to a trial many of them will be found not guilty, or given a non-custodial sentence or cautioned. Their children's rights have not been considered in the decision to remand in custody and this is wrong — legally, morally, socially.
My research (jointly funded by Coventry University and The Oakdale Trust and with assistance from Women in Prison) aimed to explore to what extent, if at all, the required balancing exercise is being carried out.
The research covered 75 cases of imprisonment (suspended or immediate) of mothers who care for a dependent child. I analysed the sentencing remarks of Crown Court judges, the reports of the Court of Appeal and the files of magistrates.
This study has found that the courts did not appear to have considered the Article 8 rights of the children. The rights of the child were not referred to in any of the 75 cases. In seven cases the court did not mention the children at all. In some cases imprisonment was suspended: perhaps in these cases the welfare of the children was considered.
In a few rare cases where the imprisonment of a mother had caused great suffering to young children, a sentence of imprisonment was appealed, and the Court of Appeal reduced the sentence or suspended it. The vast majority of mothers in prison, especially those on short term sentences, will have no opportunity to appeal.
We need a new approach
The law says that when sentencing a mother with a dependent child, the sentencer must acquire information about the dependent children, and must then weigh the Article 8 rights of the children against the seriousness of the offence. In the most serious cases the balance will come down on the side of custody.
But in some instances the court will suspend imprisonment or impose a community order rather than a custodial punishment. The vast majority of women are imprisoned for less serious offences and receive short sentences.
The rights of the child have been sidelined for too long. The balancing exercise should now take centre stage.

domain: sociology


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The world renowned Fairmont San Francisco Hotel atop Nob Hill was sold today for close to $200 million to a consortium led by an affiliate of Oaktree Capital Management LP and real estate investor Michael Rosenfeld and his Woodridge Capital Partners LLC. The hotel was purchased from Maritz, Wolff & Co., which acquired its investment in the hotel in 1998 in partnership with Kingdom Holding, which is retaining its interest. Fairmont Hotels & Resorts, based in Toronto, Canada, will continue to manage the storied hotel.
The Fairmont San Francisco opened in 1907. The Beaux Arts-style building was designed by New York architectural firm McKim, Mead & White and Julia Morgan, also well known for her design of Hearst Castle. Over its 105-year history, it has been home to many “firsts” from the drafting of the United Nations Charter to Tony Bennett’s premier of “I Left My Heart in San Francisco”. The Fairmont was home to America’s first concierge, and since its opening, has served as the San Francisco residence for U.S. presidents, world leaders and entertainment stars.
John Brady, head of global real estate for Oaktree Capital Management, said, “We look forward to joining Oaktree’s significant real estate experience and an investor base that includes prominent public and corporate pension funds together with longstanding relationships with Woodridge, Fairmont Hotels and Resorts, Kingdom Holding and our new partners – the hotel’s outstanding employees and the City of San Francisco, one of the truly great cities of the world.”
With 591 guest rooms and suites and over 55,000 square feet of conference and function space, the hotel is renowned for its three restaurants and lounges including the Tonga Room & Hurricane Bar with its thunderstorms and floating stage. Its location at 950 Mason Street atop Nob Hill offers spectacular views of the city and the Bay, and is the only spot in San Francisco where each of the city’s cable car lines meet.
Michael Rosenfeld stated: “The Fairmont San Francisco hotel’s rich history, elegance and beauty make it a one-of-a-kind property that cannot be replicated today. We are excited to be in such a distinguished partnership with a property that symbolizes the great City of San Francisco.”
Oaktree is a leading global investment management firm focused on alternative markets, with $77.9 billion in assets under management as of March 31, 2012. The firm emphasizes an opportunistic, value-oriented and risk-controlled approach to investments in distressed debt, corporate debt (including high yield debt and senior loans), control investing, convertible securities, real estate and listed equities. Headquartered in Los Angeles, the firm has over 650 employees and offices in 13 cities worldwide. For more information visit: OaktreeCapital
ABOUT WOODRIDGE CAPITAL PARTNERS, LLC
Woodridge Capital Partners, headed by its CEO Michael Rosenfeld, is a Los Angeles based real estate investment and development company with hotel, residential and commercial assets throughout the United States. Woodridge and Rosenfeld have been active in the real estate industry for more than 25 years. Rosenfeld also has other hotel interests with Oaktree, including the iconic Century Plaza Hotel in Los Angeles, and the recently acquired Fairmont Orchid Resort on the famed Kohala Coast of the Big Island of Hawaii.

domain: finance


Cartier’s in-house Chronograph movement – Calibre de Cartier Chronograph
In 2010 Cartier presented the Caliber de Cartier including Cartier’s in-house movement caliber 1904-PS, a strong base development that discovered its way into the new Tank Anglaise also. A week ago Cartier presented their new in-house chronograph development, type 1904-CH, in a watch with the recognizable Caliber de Cartier case and face.
This is obviously totally different from the exemplary rich Cartier mono-poussoir models from the regarded CPCP assortment, anyway an extraordinary following stage for Cartier’s standard assortment. This is the new Caliber de Cartier Chronograph with type 1904-CH movement.
I think it’s defended to call this development, Cartier’s first ‘normal’ in-house chronograph development, setting aside the exotics from their Fine Watchmaking assortment. The past Cartier chronograph watches, were either founded on ETA development like in the Santos 100 Chronograph or the mono pusher chronographs from Collection Privee Cartier Paris. These mono pushers utilize a manual breeze development developed by THA, a company founded by nobody less then Denis Flageolet (De Bethune), Vianney Halter and Francois-Paul Journe!
The public statement doesn’t notice anything about it, anyway it would seem that the new development, type 1904-CH, has been designed on the base type 1904-PS. It shares a significant part of similar standards, similar to two heart barrels, which are useful for ‘just’ 48 hours of force hold. Choosing two fountainheads guarantees a more steady chronometric rate. Other similitudes between type 1904-PS and the new chronograph type 1904-CH, are a similar beat rate (28,800 vph), measurement (11,5 ligne) and a focal rotor with artistic metal balls that which guarantee great stun opposition and durability.
The fine-change framework includes the mark Cartier “C”. The chronograph work is initiated by a section wheel that is obvious through a round gap in the huge extension, which completely covers the whole development. The rotor twists, as on type 1904-PS, bi-directional.
The base plate, concealed by the development’s components, is round grained. The movement’s connect, balance rooster and rotor are get done with a fine Côtes de Genève striping, which is all obvious through a sapphire crystal case back.
And before I fail to remember it, there’s likewise the dial side and case, which both unequivocally help to remember the Caliber de Cartier. A comparable case, estimating 42 mm in width with a water obstruction of 100 meters. The dial shows the Roman numerals on the top half and stick hour markers, treated with iridescent material, on the lower half.
The date gap, which shows three continuous dates, has moved from the 3 o’clock to the 6 o’clock position and there are two registers, one for the running seconds hand and a 30-minute counter. All hands share a similar design as those on the ‘normal’ Caliber de Cartier, being the sword molded hands in dark oxidized steel with an iridescent covering. Around the silvered opaline dial is a rail-track engraved in the fluted steel or gold bezel.
The new Caliber de Cartier will be delivered in eight diverse rendition, from tempered steel to a 18 carat pink gold form and even a white gold pearl set adaptation. Here are the specifications:
- Case diameter: 42 mm
- Crown: seven-sided crown in gold embellished with a faceted sapphire
- Crystal and case back: sapphire crystal
- Water-obstruction: 100 m/330 feet/10 bars
- Dial: silvered opaline dial, snailed partially, stepped on the XII numeral, the hour markers and opening, Roman numerals and dark moved hour markers. Two snailed counters (hour/minute) with gold bevel.
- Hands: blade molded in dark oxidized steel with an iridescent coating
Movement: Manufacture self-winding mechanical chronograph type 1904-CH
- Number of gems: 35
- Number of parts: 269
- Balance: 28,800 vibrations/hour (4Hz)
- Power hold: 48 hours
- Finish: Côtes de Genève
More data: www.cartier.com
This article is composed by Frank Geelen, chief editorial manager for Monochrome Watches .


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? Auto burglary on 300 block South 14th Avenue, backpack, wallet and contents stolen after breaking window
? Residential burglary on 400 block South 32nd Avenue, television stolen
? Receiving stolen property on 100 block Broad Street, Douglas Reynard Hawkins and black male juvenile charged with being in possession of several items reported missing from auto burglaries in past week
? Embezzlement on 5900 block U.S. 49, Harry Hubbard charged with stealing items from employer
? Grand larceny auto on 600 block Campbell Loop, Depree Cooley charged with stealing vehicle left running and unoccupied at business
? Robbery on 1700 block Country Club Road, black male juvenile charged after entering store, displaying air rifle and demanding money
? Robbery on 5800 block U.S. 49, suspect entered store, assaulted manager and threatened bodily harm, manager escaped and suspect fled with nothing
? Auto burglary on 800 block North 28th Avenue, purse with contents stolen after breaking window
? Auto burglary on 800 block North 28th Avenue, wallet with contents stolen after breaking window
? Auto burglary on 4300 block Hardy Street, GPS and two Canon cameras stolen
? Auto burglary on 1300 block Concart Street, wallet and contents stolen after breaking window
? Auto burglary on 800 block West Pine Street, briefcase and Samsung cellphone stolen after breaking window
? Auto burglary on 4300 block Hardy Street, assorted clothes stolen
? Auto burglary on 100 block North Tipton Street, iPhone 4 stolen after breaking window
? Auto burglary on 500 block North 38th Avenue, GPS and cash stolen from unlocked vehicle
? Auto burglary on 3600 block Campbell Loop, GPS stolen from unlocked vehicle
? Auto burglary on 100 block Ross Boulevard, documents stolen from vehicle with damaged door handle
? Sexual battery on Continental Boulevard, Gary Underwood charged after attempted sexual contact with juvenile reported
? Officers responded to one agency assist, two alarm calls, one disturbance, two escorts, one fight, two fire alarms, one intoxicated driver, one medical call, four complaints, four suspicious persons or vehicles and one vandalism.
? Deputies responded to three animal calls, two accidents with no injuries, three accidents with minor injuries, three animal calls, three disturbances, one domestic disturbance, three larcenies and two vandalisms.
Mississippi Highway Patrol
? Troop J responded to two accidents with no injuries.

domain: news


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Introducing the brand new Winter 2013 collection of STORY by Kranz and Ziegler. These edgy designs with fall and winter colors are a great enhancement to an already fantastic collection of jewelry. Check out the latest items Story Winter 2013 collection or keep reading for a complete rundown of these new pieces.
The design of STORY jewelry is really starting to differentiate themselves in the market. Not only have they introduced some wonderful new charms that are leaning more toward decorative than figurative like the Diamond Shape Pendulum Charm in all three metals or the Show Stopper CZ Slide Charm that makes a statement to any STORY bracelet but they’ve also added a brand-new steel bracelet concept that pairs really really well with your existing or brand new story bracelet. The mix of leather, natural gemstones, exotic snakeskin, and sterling silver weaves around your wrist for an incredibly chic and fashion forward look.
“These new STORY items allow you to craft your STORY even more and elevates the design of the entire range.”
The last release, we saw the best of Spring and Summer brought through the entire collection and right now that is what’s happening with this Fall & Winter release. New, season appropriate colors that are perfect for holiday gatherings and a more “crisp air” time of the year.
STORY Winter 2013 Bracelets
The 4 new colors in the lambskin and as always you can’t forget about the classic black which is great because you can wear it throughout the entire season.
[Trend Alert] Exotic Snakeskin
Another great iteration to the line is with the snakeskin bracelets, they have been loosened up some, for comfort. Not to the point where you can see a noticeable difference but it is a lot more comfortable to wear and I think this is the best time that the snakeskin has ever looked and with the exotic trend going on right now I can’t think of anything more appropriate to finish off your fall outfit with a snakeskin story bracelet. As an aside they do run small so order one size up. If you are normally a 57cm order a 60cm.
New Pearl Wrap Bracelets
The gemstone bracelets especially the pearl; which just came out in 5 new colors, faceted hematite and smoky quartz as well as the black onyx are all beautiful bracelets in their own right. These can also be worn as a layered necklace but the real magic happens when you pair it with a snakeskin or lambskin bracelet and make kind of a double wrap with a few charms featuring some brilliant clear CZs. “It’s just a spectacular look”.
STORY Winter 2013 Charms
Many of the new charms include clear CZs which adorn the surface. This adds just the right amount of shine when you add it to your bracelet. STORY has done a great job of adding these CZs in just the right places to avoid being too harsh or taking away from the piece. It simply enhances the drop and button charms with this added sparkle. Also, two themes emerge from this time around, diamond and geometry.
Liz always said diamonds are a girls best friend. So, now there are now three new charms that not only have CZs but are shaped in a diamond pattern which gives a very sexy look to your bracelet. I like that story has decided to play with the the diamond theme this time around. Because the timeless glamour of a beautiful diamond never goes out of style.
You can see by some of the images from this years story winter 2013 lookbook and below for inspiration. So, throughout this release is the continuation of this type of layering look and is elevating the style of STORY. There is no doubt that STORY by Kranz and Ziegler is the premium wrap bracelet brand on the market today.
As always STORY does trend a little on the edgier side. Ok, sometimes a lot more, but it is one of the hallmarks of the line and is a complete compliment. There’s not a lot of jewelry out there that looks anywhere close and as they continue to evolve as a brand which is accompanied by these latest pieces, STORY keeps getting better and better.
I find that with the affordability of sterling silver it is a really popular metal this season and is always classic.
[Trend Alert] Black Rhodium
The black rhodium pieces over Sterling are showing up in a lot of designer collections right now and this line does a great job of coming up with creative designs that showcase this trend.
The bracelet gallery has been completely updated with all of the brand-new merchandise in addition to the winter 2013 collection charms have been added to the website. Plus, we have gone through a redesign here at StoryBracelet.com which is part of Landing Company to make your shopping experience even better.
The store is in John’s Pass Village, Madeira Beach and while we are an authorized retailer there as well as an online retailer which means for customer service and the actual fulfillment of orders, it will all be done through the shop. We ship out orders all the time and since this is an imported line from Denmark, and we have stock on a lot of these items, right now is a perfect time to start looking at these types of bracelets for the upcoming holiday season or if you’re just buying a really nice treat for yourself it is a great time to get your order in. I think STORY has really outdone themselves and it’s a beautiful collection for the fall and winter 2013.
One thing to keep in mind is we are going to be showcasing some of the prebuilt ready-made bracelets already on the site that can be purchased here in the completed bracelet category. However, you can also derive some inspiration from these professionally put together designs. In the gallery you will notice some really impressive pictures of their latest release including the images from the lookbook.
A brief social media update, we are pinning on the Landing Company Pinterest board all the time so check that out too for more STORY inspiration. So that will do it for this update be sure to check out the entire collection which is available right now on storybracelet.com thanks and speak soon.

domain: design


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Family farming is by far the most prevalent form of agriculture both in developed and developing countries, representing the largest source of employment worldwide. It is much more than a mode of food production. It is a way of life.
In 2014, the International Year of Family Farming (IYFF 2014) focused the world’s attention on family farmers’ important role in alleviating hunger and poverty, providing food security and nutrition, improving livelihoods, sustainably managing natural resources, protecting the environment, and fostering sustainable development.
In 2017, the United Nations Decade of Family Farming 2019–2028 was proclaimed as a framework for countries to develop public policies and investments to support family farmers and contribute to the achievement of the Sustainable Development Goals (SDGs), including eradicating rural poverty in all its forms and dimensions.
This publication highlights some of FAO’s key messages and work on family farming at regional and national level, showing the positive developments since IYFF 2014 and underlining specific levers and processes to scale up throughout the upcoming Decade.


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Resident Evil Village Vampire Lady Dress Outfit Lady Dimitrescu's Daughter Halloween Carnival Suit Cosplay Costume
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hi, we are uk size
In terms of quality, the dress is really well done! Surprisingly there were no loose threads or bad seams (which is usually always present in premade cosplays), and it was very well done, had amazing patterning. This really is an amazing costume, I really recommend it to anyone thinking about purchasing.
Shockingly comfortable. Looks good, decent quality, shipped fast. I got a size up from what i normally wear and it fit perfectly. Im short about 5ft and the length was good.


Posted by LakvisionTV on 13 Jul 2019 (12:46 PM). Hosted on the Internet.
Day after it entered the lunar orbit, India s second mission to the moon Chandrayaan-2 has captured the first images of the moon. MORE..
22 Aug 2019 (11:43 PM)
Based on the information received from the State Intelligence Service, the Ampara Police, today (22), arrested another active member of the Jamathei Millathu Ibraheem (JMI). MORE..
22 Aug 2019 (9:52 PM)
Any person involved in gambling firms will be barred from the nation s cricket governing body as officials bid to eradicate match-fixing scandals that have dogged the sport, the government said Thursday. MORE..
23 Aug 2019 (12:11 AM)
Secretary to the Prime Minister Saman Ekanayake has been issued notices to appear before the Presidential Commission of Inquiry probing the allegations of corruption and malpractices in the government from 2015 to 2018. MORE..
23 Aug 2019 (10:38 AM)
An individual set fire to several vehicles parked near a shop in Periyamulla, Negombo. MORE..
22 Aug 2019 (5:17 PM)


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It’s been a while since I’ve made this recipe, It’s definitely a favourite of mine, my mum usually makes the traditional nigerian version of this (which i so love) with mixed prawns, stock fish and veg served with fried or grilled chicken. I decided to put a simple spin on this to make it easier without losing it’s authentic flavour I thought it would also be a great combo with seasoned sweet chilli ribs.
What you’ll need for the rice:
– Rice (Jasmine or basmati rice)
– Coconut Milk
– Coconut oil
– All purpose seasoning
– Onion x 1
– Scotch bonnet x 2 (or chilli)
– Red/Yellow/Green peppers
– Curry Powder
– Parsley (to garnish)
What you’ll need for ribs:
– Pack of ribs 6/8 pieces
– Salt x 2 Tsp
– grounded coriander
– Soy sauce
– Sweet chilli sauce
-Garlic and Ginger powder
Make sure you pre heat the oven at 200 degrees before you start, wash the ribs in salt or lemon water, rinse the pat dry.
Sprinkle, salt, chopped garlic, tsp of coriander powder, paprika and soy sauce, mixed herbs and 3 tablespoons of sweet chilli sauce. Leave to marinate for 3 hours in the fridge (better overnight). Sprinkle olive oil and add to a pan pop in the oven and leave to cook for 40-45minutes. Whilst in the oven start on the rice.
How to make the rice:
3 cups of rice: wash and rinse under water till waters clear then par boil for 10 minutes.
Dice one big onion and add to a heated pan of coconut oil. leave to simmer for 3 minutes
sprinkle 1 cube of maggie cube. Followed by 3 tablespoons of tomato paste (Puree) and tablespoon of curry powder. Mix together and leavefor a few minutes.
Add a can of coconut milk to the onions, mix and leave to simmer for 10 minutes, once the 10 minutes is up add your par boiled rice and chopped peppers to the coconut mix. Sprinkle a tablespoon of all purpose seasoning and a tablespoon of fish seasoning mix together cover and leave to cook for 20 minutes.
The finished product, crispy juicy ribs once its done.
Then serve, with a glass of wine ofcourse 😉 Enjoy! xx

domain: food


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There are two ways to describe the career of Wallace Stevens. One would be this: after having been born in Reading, Pennsylvania, in 1879, Stevens attended Harvard University and New York Law School; he began working in 1908 in the insurance industry, and in 1934 he was named vice president of the Hartford Accident and Indemnity Company, where he continued to work virtually until the day of his death in 1955. The other way of describing his career would be this: after publishing Harmonium in 1923, Stevens wrote no poems for almost a decade; but after his second book, Ideas of Order, appeared in 1935, he wrote consistently and in comparative obscurity for the rest of his life. His Collected Poems (1954) received the National Book Award and the Pulitzer Prize after his death in Hartford, Connecticut, in 1955
781-800 of 903 Results
Robert Stone has written that “the first law of heaven is that nothing is free,” and there are reasons enough to believe that he came by this hard truth early and ungently. He was born on 21 August 1937 in Brooklyn, New York, to a schizophrenic mother, Gladys Grant Stone, and an absent father, C. Homer Stone. By the age of six the young Stone found himself boarded in St. Ann's Marist academy—a quasi-orphanage, in his case—where physical and psychological brutality from both students and priests was daily fare. When his mother was well enough, Stone lived with her, taking trips to make “new starts” in various parts of the country, at least one of which ended with a stay in a homeless shelter. Despite, or perhaps in part because of such early dislocations of the spirit, the boy began to write stories that from the start garnered attention and praise, and which were obviously a welcome outlet for his stifled ambitions and for the active imagination that had hitherto served largely as a refuge.
Stowe, Harriet Beecher
Lorinda B. Cohoon
Harriet Beecher Stowe's reputationas an author of American literature is directly connected to Uncle Tom's Cabin; or, Life among the Lowly (1852), her first and best-known novel. With this text, Stowe gave American literature a novel that influenced the abolitionist movement, contributed to American iconography, and explored possibilities for women's involvement in political life. Stowe's text also offered fruitful material for puzzling over the quality of her writing and its peculiar power. During the nineteenth century, reviewers and critics debated Stowe's literary reputation, alternately praising her for her bold choices of subjects or criticizing her for her texts' artistic flaws. As the nature and importance of American literature were established in the early part of the twentieth century, literary historians either neglected to mention Stowe or compared her unfavorably to nineteenth-century male writers such as Nathaniel Hawthorne and Herman Melville. These writers were seen as having written far superior material, especially in the areas of style and originality. In the late twentieth century and in the first few years of the twenty-first century critics have renewed their interest in Stowe's writing, focusing on her feminism, her talents as a regional writer, and the relevance of her travel narratives and other texts to cultural studies. Participants in ongoing discussions of representations of race in the nineteenth century continue to grapple with Stowe's characterizations of people of color. Whether celebrated or berated, Stowe's contributions to American literature cannot be ignored.
Mark Strand was born in Summerside, Prince Edward Island, Canada, on 11 April 1934. Sandwiched between the celebrated generation of American poets born in 1927—John Ashbery, Adrienne Rich, W. S. Merwin, Galway Kinnell, James Wright, and Donald Hall, among others—and those of the 1940s, Strand once joked that he, Charles Wright, and Charles Simic comprise a “generation of three.” Strand's parents left Canada when he was four, and he was raised and educated mainly in the United States and South America, returning to Nova Scotia for summers until he was twelve.
Strategic Hybridity in Early Chinese and Japanese American Literature
William Styron's best writing resonates with an emotional honesty that strives for a greater, universal truth. In his fiction Styron has relied on memories of his Virginia childhood and early adult life in New York City and Europe as starting points for broader novels. With his nonfiction, he has been more engaged in the political and social events of his time. Regardless of the form, his writing has always attracted attention—and often controversy.
May Swenson was born on 28 May 1913 in Logan, Utah, to Dan and Margaret (Helberg) Swenson. She attended Utah State Agricultural College, not far from her home; her father was an assistant in the college's Woodwork Department. The eldest of a large Mormon family, she became skeptical of her faith while in college.
Sympathy and Empathy
Charles Robert Baker
The novels of Booth Tarkington were read by millions of Americans around the turn of the twentieth century, though today his name is known mostly to historians of American literature and to those of the oldest generation whose youthful reading included Tarkington's delightful series of the boyhood adventures of Penrod. His best-known adult novel, The Magnificent Ambersons (1918), has found readers through the decades as well.
Edward Halsey Foster
Allen Tate—born John Orley Allen Tate on 19 November 1899 in Winchester, a rural town in Kentucky—was descended from old southern stock. A defender of the agrarian South against the urban, industrialized North, he was best known as a poet and a novelist, but he was also a distinguished editor, teacher, and critic, whose contributions to the New Criticism helped to make it the dominant American critical discourse at midcentury. Tate's father was a businessman whose turbulent character was matched by his extravagant financial speculations. Tate's mother, in contrast, was a Virginia aristocrat, the descendent of genteel patrician families. The parents were very different temperamentally, and during Tate's childhood they separated. Tate's mother took charge of her shy, intellectually inclined son, even moving with him to college and keeping house there for him.
Arnold E. Sabatelli
James Tate is arguably one of the most influential poets of his generation. In 1967 he won the coveted Yale Younger Poets Award, one of the youngest writers ever to receive that honor. (He was a graduate student at the Iowa Writers Workshop at the time.) His book The Lost Pilot, published the same year, set the tone for the body of his poetry. Surreal, funny, irreverent, and at times almost wholly inaccessible, Tate's poetry has not strayed far from the approach and tone of his earliest work.
Adam Scott Miller
During his lifetime of eighty-seven years, Edward Taylor, a Puritan minister and poet, wrote more than forty thousand lines of verse. Much of Taylor's poetry is devotional and was composed during the course of frequent meditative exercises. As a result, he chose to keep his work private but left his manuscripts to his grandson, who eventually deposited them in the Yale University library. They remained there until their discovery in 1937. Subsequent critical attention has declared Taylor's verse to be colonial America's best poetry.
Because he was born in Tennessee and much of his work is set there, Peter Taylor is unquestionably a southern writer. But his fiction differs from that of the other significant writers of the southern literary renaissance of the 1920s through the 1960s in its focus on urban and suburban settings of the Upper South rather than on the rural life of the Deep South. Taylor was younger than William Faulkner, the great master of southern and, indeed, of American fiction, and younger than the members of the South's two preeminent literary groups, the Fugitive poets and the Agrarians. As a result, the shadows of the Civil War and Reconstruction fall less boldly upon his work than on the work of those older writers, who had one foot in the nineteenth century and one in the twentieth. Taylor's sympathetic concern with the circumstances of blacks and women place him firmly in the twentieth century. (His other large theme of class shows up in almost every period and school of American literature.)

domain: literature


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Customers at select British McDonald's restaurants will soon be able to head straight to their table after placing their order with the launch of a new table service.
Set to roll out next month, about 400 restaurants across the U.K. will make 'McWaiters' out of their staff, sending them to deliver customer meals straight to their tables.
The service will be available for customers who order off automated kiosks.
The fast-food giant also plans to expand their Signature Collection, a trio of burgers developed by a team of chefs whose collective experience includes stints at Michelin-starred restaurants across the UK.
Currently, about 30 restaurants serve the premium menu.
Burgers are made with thick-cut British and Irish beef, served on brioche-style buns and come in three flavours: Classic, BBQ and Spicy.
Table service has also been tested at McDonald's restaurants across France, Germany, Switzerland and Austria.
Also on HuffPost


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I bought The Binding of Issac on Steam for a few dollars during a sale two months ago, completely forgetting that Rebirth was coming as a free Playstation Plus game. So that means I have another PC game that I’ll never play on PC, but can experience it on my Playstation 4. And experience it I did, last weekend.
I planned to just try it out for an hour, but for the past week, it is the only game I’ve played.
I’ve “beaten” the game about ten times now and I don’t see myself stopping anytime soon. This game is my new addiction, an addiction so strong that it is rivaling my previous addiction to Persona 3 and 4.
I picked up this game at the worst possible time, because now instead of video games competing with my study time for upcoming finals, my study time is competing with The Binding of Issac.
I am SO glad that this game came to Playstation Plus as a free game, but I would happily pay full price for this game. I’ve been playing mostly on my Playstation Vita in bed or in-between my classes since it is so convenient. I don’t see myself playing on my Playstation 4 until I finally start streaming games on Twitch, hopefully next month. I’m also kind of mad that the Vita and PS4 versions of the game are not cross save, so I have to unlock things a second time when I start playing on my PS4 again.
My best runthrough was with Azazel, the overpowered flying monster. I received some generous item drops, including an item (The name is slipping my mind) that allowed me to shoot in every direction at once. Combined with Azazel’s charge beam attack, I dominated most of the rooms I entered, including the fight with Satan.
I still haven’t beaten Mom’s heart with Eden or Judas, but I’ll try to vanquish that problem by next week. I recently fought Issac with Eve for the first time and managed to win because I had homing tears, laser tears, full health and a full health pill. The amount of things to kill in this game is constantly growing along with my love for this game.
If you asked me to describe why I love this game so much, I’d struggle to perfectly capture the magic of this brilliant game. The Binding of Issac: Rebirth is a game I will never get tired of.


Say a deadly listeria outbreak is traced back to a food plant you own. How do you handle the crisis?
CEO Michael McCain of Maple Leaf Foods faced that challenge last year when an outbreak of listeria led to several deaths. Despite the grim events, McCain was named CEO of the year for 2008 by the Canadian Press. Here’s why:
He acted swiftly, recalling all products and shutting down the plant for decontamination.
He publicly took full responsibility on behalf of his company. Rather than relying on a well-groomed spokesperson, he delivered “deepest and sincere condolences” to families without mincing words.
He exuded compassion, authenticity and integrity. Even one of the people suffering from listeriosis praised McCain, saying, “The and effort taken by Mr. McCain ... are truly commendable.”
McCain proved the company’s ethical mettle and preserved its reputation.
—Adapted from "Maple Leaf Foods listeria lawsuits settled," Tiffany Crawford, National Post


Thanks a lot Nick for the feedback. :-) Does the steam from these polute the atmosphere or is it safer than most industrial vapours?
There shouldn't be any pollution to the atmosphere from these cooling towers.* The towers are used to condensate and recover water from the steam that has been used on the heat exchanger of a power or chemical plant. The water used is in a separate system to the water/steam used to drive the turbines, so shouldn't become contaminated/irradiated.
Thanks, Nick they were very interesting! :-) I've actually stood inside a disused one but never new the dynamics of how they worked. I never even knew there were different kinds either. I think I am going to try and photograph all the ones in the UK and some in Europe as part of a large project next year.


Voters walk past political signs outside the Community Center & Veterans of Foreign Wars post in Apopka, Florida October 29, 2012. (Photo : Reuters)
A new impreMedia-Latino Decisions tracking poll reveals that Latinos are increasingly more enthusiastic about voting and are more likely to vote than ten weeks ago when election tracking began. According to the poll, which was released on Monday, 45 percent of Latino voters said they were enthusiastic about voting in 2012 compared to 2008.
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The impreMedia-Latino Decisions poll revealed that 87 percent of Latino voters stated they were "almost certain" that they would vote on Election Day, a three-percentage-point increase from a 2008 Census statistic. Of the 87 percent who were "almost certain" they would vote, eight percent said they already cast their vote.
According to the poll's results, many Latino voters do not think it matters which candidate is president when it comes to dealing with many issues. In regards to immigration reform, 52 percent believe that things will fare better under an Obama administration but 37 percent believe it will not matter which candidate wins.
The latest results also revealed that there is a 52-point gap between support for President Barack Obama and Republican challenger Mitt Romney. Obama leads among Latino registered voters with 73 percent, compared to Romney's 21 percent.
ImpreMedia-Latino Decisions have been tracking Latino voters for the past 10 weeks on their opinions regarding the upcoming presidential election. According to their polls, Latinos have consistently named the economy as their top priority.
"The latest release revealed that Romney and the Republican Party have been unable to convince Latino voters that they will be better at improving it," the poll report stated. The results found that 73 percent of Latino voters believe Obama and the Democratic Party will make the right decisions concerning the economy, compared to 18 percent who believe Romney and the Republican Party will make the right decisions.
Monica Lozano, CEO of impreMedia, stated, "The poll shows that this year we can anticipate record participation among Latino voters. However, Latinos are also realistic about what it will take to make real progress on the issues they care about, especially given the lack of cooperation among our elected representatives in Congress."
The Latino Decisions report revealed that the number of Latinos certain they were going to vote has risen in the past few weeks, as well as the level of voter enthusiasm among Latino voters.
Matt Barreto, co-founder of Latino Decisions said, "The candidates now have one week left to make their case to Latino voters. While Obama has maintained a large lead among Latinos throughout the campaign, the data shows that over one-third of Latino voters are not sure that things will actually improve under a second Obama term."
"In particular, the tracking data has consistently shown that Latino voters blame fighting in Congress as the reason the economy has not recovered, and on this issue over 40% think that regardless of who wins - Obama or Romney - that neither candidate can bring cooperation to Washington D.C.," Barreto added.
"In the final week of this campaign, the candidates need to connect with Latino voters and explain how they will somehow be able to break the impasse in Congress and get things done," he said.
The final report by impreMedia and Latino Decisions will be released on Monday, November 5.


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NEW YORK (VINnews) — Could we be eating fake meat in the near future? This is what the Swiss-based World Economic Forum would have us believe. The organization has been touting fake meat produced from a 3D printer as a “taste of the future.”
Israeli scientists created a plant-based food which contains fake muscle, blood and fat to replicate meat and an Israeli company is now producing fake steaks at a rate of 6 kg per hour. The ultimate goal is to enable cheaper, more environment-friendly substitutes to bovine meat, which will enable economically deprived populations to partake of meat substitutes which will emulate the taste and texture of real meat.
The Israeli company, Redefine Meat, uses industrial-scale 3D-printing to produce a plant-based ‘alt-steak’ that it says has a structure and texture similar to that of the real thing.
Eshchar Ben-Shitrit, the company’s chief executive and co-founder, told Reuters that: “We can do the entire cow, not only one part of the cow.”
In 2019, his firm raised $6 million in funding – an indication of how seriously the non-meat meat market is being taken. According to a report in Vox, demand for meat alternatives in the US leapt by 264% while the coronavirus pandemic was raging. Redefine Meat says it expects the category to be worth $140 billion annually by 2030.
The demand for meat substitutes is based on a number of factors:
- Every year, billions of animals are raised and slaughtered for food.
- This uses huge amounts of water and energy. A single kilogram of beef requires 15,000 liters of water to produce, a huge strain on global water supplies
- Some experts believe alternatives could be better for people and the environment.
- Eating too much meat – red meat in particular – has been associated with a range of health problems for decades including heart disease and some forms of cancer. It has been linked with obesity too. In the US, over 70% of people are overweight or obese.
The World Economic Forum is an organization whose stated goal is “improving the state of the world by engaging business, political, academic and other leaders of society to shape global, regional and industry agendas.”
At a recent virtual event hosted by the forum dubbed Bold Actions for Food as a Force for Good, the WEF highlighted 5 main reasons that people should add weeds to their diets:
1. They’re easy to grow
2. They can be rich in nutrients
3. We need to diversify our diets
4. They know more about the soil than we do
5. They taste great
It remains to be seen whether people will relinquish their favorite meat steaks for plant-based substitutes. One thing is clear, though- after such a steak, orthodox Jews can definitely enjoy milk coffee without requiring a lengthy wait.
i wish israel would not rush to cure world hunger like this and be everyone’s friend.
they will not get more friends this way, only more conspiracies
Per Halacha it has the same din because of Maris ayin so even with such meat you’ll have to wait
The only thing missing from this article is the most important point to me that this technology will prevent suffering to billions of animals. I’m more than a bit dismayed that the point is not mentioned in the article. Tsa’ar ba’alei chayim.