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Do you love paper chains as much as I do? When I was little my mom would get me these little packs of paper strips that already had the glue on the backs and you just licked them to make the chains. Pure delight to this young crafter in the making!
These paper chains that I made for printing aren't exactly lickable, but they do have yummy treats on them! I chose a few of my favorite Cookies for Santa, and added them to stripey strips.
By placing plain white strips between the Cookies for Santa links, you can be sure to see the Cookies facing the right way. That may be silly, but it's important to me when I make things like this.
Anywho, download the printable paper chains, then print and link some fun!
Oh, and for a chance to win some printable Cookies for Santa ornament tags, hop over to my Facebook page. I'm giving away a bunch of sets that would look nice with your paper chains!
I´m always totally impressed by your creativity!
Have a very merry x-mas!
Can't wait to do this today!!


This is nice-looking and high-quality laminate. Acclaim – 2 Plank laminate Mohawk is one of the most beautiful collections of the Mohawk laminate. This laminate is 7.5 inch in width with Deep graining & hand scraping add contrast & character. Acclaim – 2 Plank laminate Mohawk is a convenient and comfortable material. It's wide enough to lay on your floor for many years. It fits flats and houses and may be installed in offices as well.
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Traxxas Monster Jam – Monster Mutt Review « Big Squid RC – RC Car and Truck News, Reviews, Videos, and More!
When Traxxas announced the Monster Jam Replicas, there were quite a few reactions around the office. I remember telling Cubby that I was going to be driving a monster truck with ears! Cubby just rolled his eyes, and gave me the usual face palm and disapproving head shake. Fine! See if you get to play with the new puppy when it arrives! A few weeks later, we had the Monster Mutt in the office and it was time for testing! Did it win over Cubby's approval, or has he banished it to the dog house? Keep reading to find out.
So out of the box there were a few things we noticed right away. The detail on the truck is pretty good. The paint is done very well, and I had a hard time finding a place to put a BSRC sticker where I wouldn't end up taking away from the body. The floppy ears are fun, and well attached. We haven't lost one yet, and they are hilarious to watch wave in the wind as it's cruising down the track or down the street. The tongue is made up of a stiff plastic/cardboard type material, and this has been acceptable so far. Something I noticed though was the lack of a tail. My first reaction was 'well that's ok.. because if this thing wheelies it will be torn off in no time, plus nobody will probably notice.' Boy was I wrong, 9 out of 10 people that see the truck for the first time ask 'where's the tail?'. I honestly didn't think it would be a big deal, and in the grand scheme of things it isn't, but people really notice it, or the lack there of. Maybe a tail-wheelie-bar mod needs to happen! I'll have to get Wrench on that.
All the Monster Jam Replicas are based on the Traxxas Stampede platform with some tiny modifications. The Grave Digger has a black chassis with several molded green parts, all the trucks have wheels/tires that give them a more scale look than the stock Stampede, and with the exception of the Grinder, I think all the bodies look like they belong on the vehicle. The wheel wells are cut in good locations, and over all they have a nice scale look!
All the Monster Jam vehicles come RTR with battery so you will be up and running in no time. Also, they are all waterproof out of the box, so rain, puddles, and snow bashing can all be done without worrying about frying any electronics.
The Monster Mutt comes with a Traxxas AM radio which I have to say seems a little 'behind the times'. While we understand that Traxxas is doing everything they can to keep the cost down to get these into the general public's hands, I have to believe the cost of their 2.4GHz radio has come down considerably with them shipping with most other Traxxas vehicles.
Speaking of cost savings, the tires come without foam, and the front tires are not glued. This isn't a big deal for your average basher or newbie to the hobby, but we wanted to point it out. The lack of foam in the tires makes landings a little squishy/bouncy but probably takes some of the strain off the shocks making it overall a little more durable. We tried hard to pop the front tires off during driving, but never had a problem. If you were to upgrade to a Velineon system, you could bet these things would be flying off the rims.
The Stampede platform has proven itself to be a great intro truck to RC, and our Monster Mutt was no different. We have been beating on the truck at the local bash spots, parking lots, track, and haven't had a problem yet. Crazy jumps, demolition derby's, it has survived them all with flying colors. The truck is fast enough, and powerful enough to wheelie without issue, I recommend a wheelie bar, or you'll be ripping up that rear motor protector soon, plus wheelies are FUN!
At our local bash spot it's been a blast jumping the huge 6 foot dirt hills, driving through the mud, and tumbling/smashing on and over everything we see.
A feature that I have not really appreciated until now is the ability to put the Traxxas speed control into beginner mode! With the Monster Mutt at the bashes, small kids are naturally attracted to the vehicle. Being able to put slow the truck down for them without having to worry to much as they learn the controls was great! I know Traxxas has this mode on tons of other vehicles we have tested, but never have I actually had to use it so much! Great job on this Traxxas, anything that makes it easier on the beginners is a huge plus!
While some will say it's hard to justify the extra cost (about $25) of the Monster Jam Replicas, I think the scale look of the vehicles will help bring a lot of new people into the hobby. Any time a company can help bring people into the hobby, it's a huge win for everyone!
While the truck has been fun, and we know that the audience this is aimed for are the younger basher or newbie crowd, we have to admit as experienced bashers we want to see this done on other Traxxas Platforms. Why, when you have so many great 4wd platforms would you limit these to the 2wd Stampede? At the least, I would expect a version on a 4×4 Stampede but at the most, why the heck can't I have bigger versions? Where is my Monster Mutt T-Maxx option? Seriously, why limit such a great license and scale look to the standard Stampede?
Hopefully Traxxas will be making extra bodies available soon as well. We have not seen any yet for sale anywhere, but soon our puppy's lid is going to need a replacing, and I'd also like the option of putting some of these cool bodies on a 4×4.
Overall, we really dig the Monster Jam Replicas. They are built on a solid and durable platform that has tons of upgrades available to it. The Monster Mutt looks great and turns heads like you wouldn't believe, and after weeks of bashing, no major damage can be reported. The new people these trucks will bring to the hobby are also a huge plus!
As with all of our stuff, if you see us at a bash, stop by and check out the vehicles we have with us. We may let you take a test drive, and at the very least get you some stickers!
Time To Bash – 9.0/10 – Charge batteries and go! You will be up and bashing in no time!
Workability – 9.0/10 – The Stampede platform is easy to work on, and has a long line of hop-ups.
Car Show Rating – 10/10 -My monster truck has floppy ears and a tongue!
Bash-A-Bility – 9.5/10 – It's waterproof, durable, and fun.
Big Squid Rating – 9.0/10 – Tentacles.. It's a great truck, the extra cash might be hard to justify, but it will bring a smile to you or your kids face for sure!
If you need more pictures, check out our Monster Mutt unboxing photos.


It's Friday, and so again today was mostly about joining in with Jummah prayers. Since I had already done the groundwork earlier in the week this was less of a hassle than we were expecting it to be a month ago.
Since we didn't know the local timetable we erred on the side of caution and got there early, taking the opportunity to talk to some of the locals. The mosque (again, map here) soon became full though, and the congregation became pretty serene and engaged once the khutba (sermon) started. After the proceedings and prayer we spoke to some more local Muslims including the imam (who didn't really speak much English).
The rest of the day was pretty routine - lunch at La Petite and then the catching of our flight back to Tana. A local friend my travel companions made during our previous time here took us for dinner and then to our hotel in the town, where we were going to sleep for the last time before starting our journey home.
The cross continent backtrack had begun.


text:
Абаимово — село в составе Лопатинского сельсовета Сергачского района Нижегородской области. В составе села числится 3 улицы: Заовражная, Молодёжная, Октябрьская.

География
Село располагается между рекой Подгоркою (с запада) и ручьём Студёным (с востока), которые соединяются чуть севернее села и впадают в реку Пица. Находится в 22 км к юго-западу от районного центра — города Сергач, и в 135 км к юго-востоку от Нижнего Новгорода. Высота центра селения над уровнем моря — 147 м.

Название
Название села происходит от эрзянского имени Абаим.

Население

Примечания

Ссылки

Населённые пункты Сергачского района

redpajama_set_name: RedPajamaWikipedia


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package net.dongliu.requests.mock;

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import java.io.PrintWriter;
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/**
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redpajama_set_name: RedPajamaGithub


text:
Strauss Lyricist's Family Sues for Opera Royalties Relatives of the man who helped composer Richard Strauss create famous works are suing the heirs of the composer for royalties. Hugo von Hofmannsthal wrote the words for nine Strauss works, including Der Rosenkavalier.
Strauss Lyricist's Family Sues for Opera Royalties
April 15, 20078:00 AM ET
Heard on Weekend Edition Sunday
Emily Harris
Embed <iframe src="https://www.npr.org/player/embed/9591796/9591799" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
Relatives of the man who helped composer Richard Strauss create famous works are suing the heirs of the composer for royalties. Hugo von Hofmannsthal wrote the words for nine Strauss works, including Der Rosenkavalier.
LIANE HANSEN, host:
When you love a song, what's more important: the words or the music? A legal spat over royalties between the heirs of Austrian poet Hugo von Hofmannsthal and German composer Richard Strauss revives this question, which Strauss himself addressed.
NPR's Emily Harris has more.
EMILY HARRIS: On the face of it, the lawsuit is about money, the cash that still flows from a great artistic partnership.
Mr. HENNING BOOZA(ph) (Lawyer for the Richard Strauss Estate): It all started with the collaboration of Richard Strauss and Hugo von Hofmannsthal in the year of about 1900. They worked together for about 30 years. And they started it all with their first opera called "Elektra."
(Soundbite of "Elektra")
Unidentified Soprano: (Singing in German)
HARRIS: "Elektra" was the first of eight operas and the ballet that Strauss and von Hofmannsthal created together. Lawyer Henning Booza(ph) is seeking royalties for those works on behalf of five von Hofmannsthal's descendants. Strauss' two grandsons still get royalties on the works until 2019, which is 70 years after Richard Strauss died. But von Hofmannsthal died 20 years earlier than Strauss, so copyright on his works ran out in 1999, in Germany.
Booza says the poet's heirs should get a share of those payments still coming to Strauss' estate because of contracts between the collaborators.
Mr. BOOZA: In the contract, in all the contracts, it explicitly said that the Richard Strauss estate, they have to pay royalties as long as Richard Strauss' estate takes in royalties. That's what the contract says.
HARRIS: The other side, naturally, disagrees.
Mr. THOMAS DERTHEL(ph) (Legal Counsel, ShotMusic(ph)): Well, these contracts are ambiguous and they are very ambiguous.
HARRIS: Thomas Derthel(ph) is legal counsel for ShotMusic(ph), the publisher of Strauss' works in Germany. He says that part of the contract was just to cover for places that didn't have copyright protections at the time.
Mr. DERTHEL: There were some countries, for example in Latin America, that simply did not grant the author - the text author - of an opera any income.
HARRIS: A judge will decide these legal questions later this month. But for fans of Strauss and von Hofmannsthal's work, such as their most popular opera, "Der Rosenkavalier," this case raises the question: which is more important, the words or the music?
(Soundbite of aria)
HARRIS: The former head of the International Richard Strauss Society, Gunther Brosche(ph), says the libretto, the lyrics of an opera, is important - especially in the Strauss-von Hofmannsthal collaboration. But he says the music is more.
Mr. GUNTHER BROSCHE (Former Head, International Richard Strauss Society): (Through Translator) Because without the music, the opera would never have been created. It would have been totally stupid to think the music is everything and the poetry is nothing. Without both, the pieces wouldn't be the same. But without music, they would never have been operas.
HARRIS: Albeit without the poetry, says Evita Luscinzki(ph), director of the Friends of Hugo von Hofmannsthal Society, there would not be such great operas.
Ms. EVITA LUSCINZKI(ph) (Director, Friends of Hugo von Hofmannsthal Society): (Through Translator) For me, they're from both. But it's no accident these are Strauss' most successful operas. Only "Salome," based on the text of Oscar Wilde, comes close to the success of the Hofmannsthal-Strauss collaboration. Strauss has never again found a poet like Hofmannsthal who could give him something he could make so much from.
HARRIS: The two men worked apart and communicated a great deal through letters, most of which have been published. They showed that though close collaborators, they were very different and not close personal friends. Poet von Hofmannsthal was Viennese, sensitive and temperamental. Writing depended on his mood or the weather. Strauss, the strapping Bavarian, composed every day. Strauss was key to starting a music copyright system in Germany. Strauss scholar Bryan Gilliam says he also thought about this question of music versus lyrics, and at first, but(ph) music dominates.
Professor BRYAN GILLIAM (Humanities, Duke University; Strauss Scholar): In "Salome," you have her singing, and he's got a trumpet playing at the same time, doubling her vocal line. Well, how do you - who do you think's going to win out, a soprano or a trumpet, if they're playing the same music?
HARRIS: In later works, he says, sometimes at the urging of von Hofmannsthal, Strauss held back more. Strauss' final opera, "Capriccio," written after von Hofmannsthal had died, addressed the question of libretto versus music directly.
HARRIS: The plot is simple. The countess has competing suitors: one poet and one composer.
Prof. GILLIAM: At the end, she says, whom shall I choose? So we're all sitting on the edge of our seats. Whom is the countess going to choose? And she thinks - and then the butler comes in and he says, "Countess, dinner is ready." And then she leaves. But there is no doubt that music wins, because her aria at the end, you're not thinking about the words; it's music that wins out.
HARRIS: And a lawsuit about mere money. Emily Harris, NPR News, Berlin.
Unidentified Tenor: (Singing in German)
HANSEN: This is WEEKEND EDITION from NPR News. I'm Liane Hansen.

redpajama_set_name: RedPajamaCommonCrawl


It's champagne colored. It's thicker than pancake syrup but not as stodgy as honey. Best of all, it tastes heavenly: Slightly caramelly, it's rich with light botanical and vegetal notes.
It's Salviana Raw Maguey Sap, and natural food fans might consider trying this unprocessed sweetener, which is drawn straight from the Salmiana Maguey cactus: It contains no preservatives or chemicals, it's non-GMO, organic and low in glycemic sugars.
Unlike other sweeteners, it contains pre and probiotics which promote gastrointestinal health. The vendors suggest it as a sweetener for baking, but it's ultra tasty straight out of the jar. Drizzle it on ice cream, frozen yogurt, fresh fruit, scones, biscuits and pancakes or waffles.
For those who would like to add some nutrition to decadent beverages — it's a natural match for coffee and it's delicious in craft cocktails containing spirits that have botanical aromatics such as tequila, mezcal and gin.
Coolness factor? It's labeled with that trendy catchphrase: Pre-Hispanic.
Find it: at Erewhon Markets in Calabasas, Los Angeles, Santa Monica and Venice, or shop online at salviana.com.


You are visiting the placeholder page for Gary Hall. This page is here because someone used our placeholder utility to look for Gary Hall. We created this page automatically in hopes Gary Hall would find it. If you are not Gary Hall, but are an alumni of Hugoton High School, register on this site for free now.


text:
Narratives of an Organization's Identities
Student thesis: Doctoral Thesis › PhD
The thesis explores narratives constructed by participants about an organization's identities. I examine how identity-relevant statements were deployed as exercises in power, serving to legitimize and promote their authors. Framed within an interpretive paradigm, the research adopts reflexive approaches to consider participants' understandings. I draw on organizational identity theory and empirical studies to explore the multiplicity and conflicting nature of identity in organizations. Literatures on organizational narratives, storytelling and power are also considered.The ethnography is set in a public sector organization in which I worked: the Personal Accounts Delivery Authority (PADA). Its role was to deliver the Government's reforms to private pension provision in the UK; the reforms came into force in October 2012. The narrative data constructing the research were collected through semi-structured interviews with 60 members of the organization, transcripts of organizational events and a diary I recorded for a year. These data are augmented by a series of vignettes that weave in accounts of my experiences while working for and researching PADA. The analysis of narrative data is constructed in three chapters, each of which explores identity-relevant narratives from different perspectives. The first analysis chapter examines narrative data through five concepts: reflexivity, voice, plurivocity, temporality and fictionality. The second analyses identity narratives in two organizational events and the third explores my understandings of the organization's identities from an autoethnographic perspective. The discussionchapter provides three readings that interpret the data through different lenses:narrative and storytelling, organizational identity and autoethnographic erspectives. I then make concluding remarks, including ideas for future research and the contribution of my research to the study of organizational identity. The primary contribution of the ethnography is to scholarship at the intersection of identity and power in organizations and specifically how identity-relevant narratives are deployed as exercises in power by participants. There are also contributions to narrative research methods, including the value of researching identity ethnographically. Additionally, I suggest practical contributions to literature on understanding issues of culture and sense-making in public bodies and how employees from different sector backgrounds (public and private) interact within a public sector context to deliver government reforms.
Andrew Brown (Supervisor)
James, M. (Author). 31 Dec 2013
File: application/pdf, -1 bytes


text:
KOALA LUMPUR: JOURNEY TO THE EDGE
After the massive success of Myst, the California based publishing house Brøderbund seemed to release nothing but a slew of educational titles. In 1997, a year before it would become a wholly owned subsidiary of The Learning Company, they brought Koala Lumpur: Journey to the Edge to market. Judging by the box art alone, it seemed to be another one of those animated edutainment titles, but hidden on the cardboard spine lies the only real clue that this point-and-click adventure is more than that. This game has an ELSPA age rating of 13+.
The age is seemingly out of place for such a primary-coloured game, though the US box art is perhaps better suited to the game's overall tone if not its visuals. Not only does their ESRB Teen rating feature prominently on the front, but the box art is rather different. Instead of a cartoon picture of the titular marsupial, we instead have a koala plushie lying squished on an Australian highway. Roadkill is definitely more in keeping with the anarchic tone of the game that's more in keeping with Ren & Stimpy than the Berenstain Bears.
I wonder how Koala Lumpar's zen state will be affected after seeing the US box art?
It was developed by Colossal Pictures who are perhaps best known for producing Aeon Flux for MTV as well as some animation sequences for major movies like Demolition Man, Natural Born Killers and Tank Girl. With such a pedigree, it goes without saying that the animation quality on display is superb. In fact, their original intent was to create an animated TV show but no network wanted it. Alas, the company went bankrupt during the game's production so the idea that it would reignite interest in Koala Lumpur's animated adventures never came to pass.
Zen Master Koala Lumpur (get it?), a mystic marsupial with an incongruous Indian accent, unwittingly releases the evil Mucho da Nada (get it?) from his ethereal prison by reading aloud a random scroll he finds stored in his fez. To prevent the Comedy Apocalypse, the benevolent Ella Mental (get it?) tasks you with finding the second scroll that will again imprison him.
You can't do this alone. You'll need your trusty sidekick Dr Dingo Tu-Far (get it?), but first, it's time to summon your familiar. This spirit animal is indispensable for your adventure and it just so happens to be a fly. Fly acts as both your cursor and also a character in its own right. You see, you don't directly control Koala in a traditional point-and-click manner. He will instead blindly follow Fly wherever he is on the screen. Most locations scroll 360° with the odd vertical screen so it's easy enough to manoeuvre the hapless duo. Sometimes Koala and Dingo will be stuck in a trap, responding to the call of nature or otherwise disposed and Fly can travel off on his own. It makes for some interesting moments that play around with the formula in ways I've not seen before. I would've like to see them go further with the premise though.
You can play through each location in any order (left). Thank Vishnu your inventory will clear so the kitchen sink won't travel with you (right)
When Fly is alone, he doesn't have access to the inventory which is located in Koala's Fez that must have been designed by the same guy who created the Tardis. You can literally fit the kitchen sink in there. It is here, however, where you'll first see some of the game's flaws. The Fly is entertaining enough, but it's a bit inadequate as a cursor. You don't know where your clicking half of the time but the hit-boxes are generous enough for it to not matter. The one exception is the inventory. If like any seasoned adventurer you've taken up the habit of picking up anything that's not tied down, you'll find items that overlap each other. It can become headache-inducing when trying to pick up the correct item, only for it to select the object underneath. Many items are unnecessary and can be dropped at any location - and stay there too - so you can simply clear space that way, but it's an unintuitive means to get past a problem that shouldn't be there. There are four overall locations and each will reset your inventory so at least you won't be carrying that kitchen sink all the way to the end.
Once Dr Dingo Tu-Far has joined you at the opening location, you have access to three others which can be played in any order. Each has their charms and frustrations, but let's focus on the latter for a moment as they really tarnish the quality of the overall game. The Land of Lost Things features an ever-dreaded maze which isn't too bad when you consider that The Eye in the Sky plays host to the one thing adventure gamers fear above all else - the unskippable arcade sequence. Very rarely are they programmed well and Koala Lumpur's multiple 'beam corridors' are among the worst. By paying attention to the light sequence on the control panel before you enter, you can determine the best way to get to the other side. The thing is it's nigh on impossible to tell where you are in the sequence and using the mouse as the only means of control doesn't offer the precise navigation to get through it. It's so bad, it would be enough to give up playing and declare the game as a complete dud.
Doing so, however, will do a great disservice to rest of the game. It's gorgeous to look at and laugh-out-loud hilarious at times. Even when many of the puns are groan-worthy (and there are so many that one could assume the Comedy Apocalypse is already upon us), they elicit enough of a charm to put a half-assed smile on your face. Some of the puzzles are quite good too and can vary between gently taxing and trivially easy. If it weren't for that horrible arcade sequences, I'd say this is one of the easiest adventures out there. I don't necessarily consider that a bad thing when the game surrounding them is as entertaining as Koala Lumpur.
To download the game, follow the link below. This custom installer exclusive to The Collection Chamber uses DOSBox running Microsoft Windows 3.1 to get the game working on modern systems. Manual included. Tested on Windows 10.
File Size: 251 Mb. Install Size: 406 Mb. Need help? Consult the Collection Chamber FAQ
Koala Lumpur: Journey to the Edge is © Brøderbund Software, Inc.
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Posted by Biffman 101 at 13:13
Labels: Adventure, Comedy, Windows 3.1
Kurthan Kartalhan 9 February 2018 at 20:50
Excellent work! Now I can play Koala Lumpur without skipping video sequences. Thanks.
When you found time please look at that game too, it has many flaws under modern OS;
http://theisozone.com/downloads/pc/windows-games/star-trek-generations/
Biffman 101 10 February 2018 at 10:33
Thanks! I have a copy of Generations, but I've never actually played it. I've added it to my requst list


text:
"Stage dive" redirects here. For the online ticket broker, see Stage Dive.
Method Man preparing to dive into the crowd at the Tweeter Center during Rock the Bells 2007
Stage diving is the act of leaping from a concert stage onto the crowd below. It is often the precursor to crowd surfing.[1]
Long before the word was invented, public stagediving took place during the first Dutch concert by The Rolling Stones at the Kurhaus of Scheveningen on August 8, 1964.[2]
Many musicians have made stage diving a part of their stage act. Jim Morrison was an early performer known for having jumped into the crowd at several concerts. Iggy Pop is often credited with popularising stage diving in popular rock music.[3] Initially seen as confrontational and extreme, stage diving has become common at hardcore punk and thrash metal performances.[citation needed]
Risks and incidentsEdit
Stage diving has occasionally caused serious injuries. One example is when Peter Gabriel of Genesis at the Friars club in Aylesbury on June 19th 1971 stage dived during the end of their song "The Knife", landing on his foot, thus spraining his ankle. On 20 August 2010, Charles Haddon, the lead singer of English synthpop band Ou Est Le Swimming Pool, died after a performance at Pukkelpop, Belgium.[4] He committed suicide by jumping from a telecommunications mast in the backstage artists' parking area. Haddon was reported to have been distressed after he feared he had seriously injured a young girl earlier after a stagedive.[5][6]
In 2012, singer Randy Blythe of American heavy metal band Lamb of God was indicted on (and later acquitted of) charges of manslaughter relating to the death of a fan in the Czech Republic after the fan was injured after being pushed off the stage.[7]
In February 2014, federal judge Jan E. DuBois ruled that Fishbone had to pay $1.4 million to a woman who broke her skull and collarbone during a 2010 concert in Philadelphia when Angelo Moore stage-dove and landed on top of her.[8][9]
Another fatal stage diving incident occurred in May 2014 in New York City during a performance of the metalcore band Miss May I. Although the fan was able to walk away after falling from the stage, the concert was cut short after he fainted. He later died in hospital.[10]
Headbanging
Moshing
Crowd surfing
List of dances
^ "The Evolution of Stage Diving". KCPR. Retrieved 16 February 2019.
^ Rolling Stones - Live in the Kurhaus (Scheveningen, 1964) Documentary, 2011
^ "20 Wildest Iggy Pop Moments". Rolling Stone. 2016-04-21.
^ "Ou Est Le Swimming Pool singer Charles Haddon found dead in Belgium". The Guardian. London. 2010-08-21.
^ Michaels, Sean (2010-08-25). "Ou Est Le Swimming Pool singer 'injured fan before killing himself'". The Guardian. London.
^ Allen, Peter (2010-08-23). "British pop singer 'feared he had crippled a fan' just hours before plunging to his death at Belgian music festiva LOLl". Daily Mail. London.
^ "Soud metalového zpěváka Blytha osvobodil, je nevinen". Novinky.cz (in Czech). Retrieved 2017-02-27.
^ McGovern, Kyle (14 February 2014). "Fishbone Owe $1.4 Million for Stage-Diving on Fan". Spin. Retrieved 23 April 2015.
^ Dale, Maryclaire (13 February 2014). "$1.4M for woman injured by Pa. Fishbone stage-dive". Philadelphia. Associated Press. Retrieved 23 April 2015.
^ Brown, Harley. "Fan Collapses Exiting NYC's Webster Hall". billboard.
"Is Jumping on Someone's Head OK? Musicians Weigh In on the Great Stagedive Debate" at Vice
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