At NQ Bodyfix, we don't just provide massage therapy we can also offer cupping in our Kirwan clinic.
Cupping therapy is a form of alternative medicine where cups are placed on the skin to create suction, which mobilises blood flow to promote healing. This treatment is often used to dispel stagnant blood and lymph.
There are two types of cups and cupping techniques: silicone (soft cups) or glass (used for flame cupping). Both are equally effective, they are simply applied using different techniques.
Want to find out more about our cupping treatment? Contact us today!
Cupping is a method of applying acupressure by placing cups on the skin to create suction. This suction facilitates healing with blood flow by moving stagnation, stagnant blood and lymph—thereby improving qi flow. Qi is a Chinese word that means life force.
Blood circulation is increased where the cups are placed. It's believed this can assist with muscle tension and promote cell repair. Some of our clients believe they get stronger relief when mixing this technique with their remedial massage therapy. Cupping can leave temporary marks on the skin from the suction. These usually only last 3 to 7 days. There is also a small risk of burns for people who have sensitive skin. The colour and pattern of the marks will allow our therapists to distinguish the level of stagnation in that area of your body. Marks can range from a red to dark purple.
Along with all the benefits, cupping is the inverse of massage. Rather than applying pressure to the muscle, the suction uses pressure to pull skin, tissue and muscle upward. Cupping works well for very stubborn muscle knots and problem areas that may be too sensitive to massage. Using cupping as a combination with your remedial massage can give you great results.
Never had a cupping treatment before? Here's what to expect.
It's important to note that cupping can leave marks on your body where stagnation has been moved from the deep tissue layers to the surface. The colour and patterns of the marks depend on the level of stagnation in the area and range from a bright red to dark purple. These marks will usually last for 3–10 days, sometimes longer if the person is very sick or inactive. If there is no stagnation present, there will be only pink marks from where the cups were placed which disappear soon after the treatment. While you will see marks on your body, they are not the same as a bruise. Although they do look quite sinister there is nothing to worry about. You will feel achy, but this lethargic feeling is quite similar to that experienced after a massage.
People who live and work in toxic environments may consistently mark. Sites, where there is old trauma or injury, may require multiple treatments to remove all inactivity. You will find in follow up treatments the marks will be progressively lighter as the pathogens are systemically removed from the body.
Cotton with alcohol is placed in a cup and set on fire. As the fire goes out the cup is placed upside down on the client's skin. As the air inside the cup cools it creates a vacuum-like suction. This causes the skin to rise and redden as blood vessels expand, beginning the healing process. The cup is generally left on the client for 10–20 minutes, depending on the client's needs. The pressure and strength of suction from the cups can be adjusted to the client's comfort limits.
The silicone cups used are flexible. They are pushed flat, placed and sealed against the treatment area. Once let go the cups try to expand out again but create a suction instead, and like the flame cups cause the skin to rise and redden.


Why do we pray in times of tragedy?
Why do we pray in times of tragedy? Several people have asked me that through social media. I can only offer my own perspective.
We pray in tragedy because we are human beings and we feel the human need to express ourselves to God. It is impossible to stand before the Creator and not feel the desire to pour out our hearts and give voice to our sadness, our frustration, our confusion, our anger, even our doubt and despair. Even Jesus on the Cross, feeling a sense of abandonment, cried out to the Father, "My God, my God, why have you forsaken me?" We pray because we are human.
We pray in tragedy because God desires our honesty. God wants to be "nearer to me than I am to myself," as St. Augustine said. God wants to know what we are feeling, like any close friend would, and so we know that we can be honest with God. Think of Mary and Martha who rush from their house to see Jesus after their brother Lazarus has died, and cry out, "Lord, if you had been here my brother would not have died!" They are being honest with someone they love.
We pray in tragedy because we know that God can "take it." God has been listening to prayers for as long as human beings have been conscious of the divine. The psalms are filled with expressions of joy, gratitude and wonder, but also of sadness and anger and confusion. One entire category of psalms is the "lament psalms." "How long, O Lord?" begins Psalm 13. God can take it.
We pray in tragedy because we need help. We need help in knowing what to do, in trying to find a way forward, in seeking insight and wisdom. Or simply to continue living. We need God's grace, which the Jesuit theologian Karl Rahner once defined as "God's self-communication." We need that.
And the Christian prays to someone, Jesus Christ, who fully understands our suffering because he lived it. To paraphrase St. Paul wrote, we do not have a God who is removed from our sufferings. We do not have a God who pities us, as some wealthy person may pass a homeless person on the street and say, "What a shame." No, we have a God who suffered as we do, in almost every way. And who suffered a violent death. So Jesus understands us not simply because of his divine nature. That is, not simply because he is all knowing, all loving and all compassionate. But because of his human nature as well. He understands us because he was one of us.
How does God answer our prayers in tragedy? For some, it comes in feelings of comfort and peace. For others, through insights and clarity. For others in more visible ways: a phone call from a friend, a note that consoles, a Gospel reading that comforts. For others, in the relationship itself. That is, simply recalling that you are in relationship with God can be a comfort. In the case of great moral crimes, that is, suffering caused by human beings, like the killings in Paris (and elsewhere: Lebanon, Syria, and other places), we may be moved by God to act: to combat hatred, to work for peace, to lessen suffering. This is one way God moves in the world: by inspiring people to act for good. In other situations, like natural disasters and illnesses, that is, those events not caused by human beings, we may be moved to donate money for relief efforts, to comfort the victims personally, to be present to the one who suffers. In such ways are prayers answered.
Sometimes, though, it is very difficult to see how God is answering our prayers. And of course this is where faith comes in. I do not pretend to know how God answers prayers. Sometimes I don't understand things myself. Often it seems that my prayers aren't answered. But I don't need to understand God to believe in God.
The believer prays because he or she must. And the believer believes, and knows, and trusts, that God hears. And listens. And loves.


text:
Drew Petkoff (born March 17, 1985) is a  professional lacrosse player under contract with the Buffalo Bandits of the National Lacrosse League. Hailing from Hamilton, Ontario, Petkoff began his junior career in 2002 with the Milton Mavericks of the Ontario Junior B Lacrosse League, and was acquired by the Oakville Buzz in 2005, winning the Founders Cup with the Buzz in 2006. He also spent time with the Senior B Ajax-Pickering Rock in 2008 and 2009. Petkoff began his Major Series Lacrosse career in 2009 and won two Mann Cups with the Brampton Excelsiors before being dealt to the Kitchener-Waterloo Kodiaks in 2011. He last played for the Kodiaks in 2013.

Petkoff began his NLL career in 2010 with the Toronto Rock. He played 25 games with the Rock between 2010 and 2012, winning the Champion's Cup in 2011. Petkoff then joined the Bandits, and sat out most of 2013 and all of 2014 nursing a concussion. He is currently on the Bandits' holdout list.

Petkoff is a veteran of number of junior hockey leagues, and played college hockey at the University of Windsor.

References

External links

Drew Petkoff's NLL stats at pointstreak.com

1985 births
Living people
Lacrosse people from Ontario
Sportspeople from Hamilton, Ontario
Buffalo Bandits players
Toronto Rock players
Brampton Battalion players
Gatineau Olympiques players
Ontario Junior Hockey League players
University of Windsor alumni

redpajama_set_name: RedPajamaWikipedia


Below are answers to questions we have received many times.
How can I fix a clogged toilet?
Try using a toilet plunger before calling. However, if this does not work on the first try, do not continue flushing.
The is one of the most common plumbing questions asked. The usual reason is that the flap in the bottom of the tank isn't sealing shut. Take the top off the tank and flush the toilet while watching the rubber flap. Does it completely close? If not, even though water is entering the tank, some of it is flowing out through the unsealed flap and therefore, the water continues to run because the float ball trigger is never activated to stop the flow since water never reaches the fill line. That's why jiggling the handle works to stop the running. It's attached to the rubber flap with a chain, and jiggling it will reposition the flap so that it may seal more securely.
What do I do if my ring drops down the sink drain?
If you drop a ring down the drain - Try using a coat hanger to fish it out.
What makes pipes freeze and burst?
Water expands when it freezes. This is the same reason that pop cans burst in the freezer. When you have a pipe full of water that is exposed to freezing temperatures, the water in the pipes expands as it freezes, causing a tremendous amount of pressure that will eventually cause the pipe to bust.
What do I do when my dishwasher clogs up?
Try clearing the area around the drains it may have pieces of food covering it and preventing drainage.
What do I do about a sewer gas odor?
Make sure traps are full of water, since the water in floor drains and other drain traps tends to evaporate. Make sure all caps are on and secure. Sometimes a small amount of bleach poured into the drain seems to help.
Is it OK to pour grease down my kitchen sink?
Grease that is liquid when you pour it into the drain from your frying pan quickly becomes a stiff, sticky, and insoluble lump inside the pipe. Grease should never be flushed or put down sink drains.
Is there harm with flushing chemicals down the toilet?
Avoid flushing chemicals into the waste water treatment system. Introducing chemical compounds such as drain cleaner, paint, thinners, or other household cleaners result in imbalances at the waste water treatment plant.


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The Green Hornet is a masked crime fighter. Originally created by George W. Trendle and Fran Striker for an American radio program in the 1930s, the character has appeared in other media as well, including film serials in the 1940s, a network television program in the 1960s, and multiple comic book series from the 1940s to the 1990s. Though various incarnations sometimes change details, in most incarnations the Green Hornet is Britt Reid, a newspaper publisher by day who by night goes out in his masked "Green Hornet" identity to fight crime as a vigilante, accompanied by his similarly masked Asian manservant Kato and driving a car, equipped with advanced technology, called "Black Beauty". The Green Hornet is often portrayed as possessing fair to above average hand-to-hand combat skills and is often armed with a gun that sprays knock-out gas (a sonic blast weapon called the "Hornet's Sting" was added to his arsenal for the TV series).
One relatively minor aspect of the character which tends to be given limited exposure in the actual productions is his blood relationship to The Lone Ranger, another character created by Striker. The Lone Ranger's nephew was Dan Reid. In the Green Hornet radio shows, the Hornet's father was likewise named Dan Reid, making the hero the Ranger's grand-nephew.
Radio series
The character premiered in The Green Hornet, an American radio program that ran on WXYZ (the same local Detroit station which originated The Lone Ranger), the Mutual Broadcasting System and the network known through its succession of various owners as NBC Blue, the Blue Network and the ABC Network from January 31, 1936 to December 5, 1952.
The series detailed the adventures of Britt Reid, debonair newspaper publisher by day, crime-fighting masked hero at night:
With his faithful valet Kato, Britt Reid, daring young publisher, matches wits with the Underworld, risking his life so that criminal and racketeers within the law may feel its weight by the sting of the Green Hornet!
During World War II, this was changed to:
... matches wits with racketeers and saboteurs, risking his life so that criminals and enemy spies will feel the weight of the law by the sting of the Green Hornet!
After the revving of the Black Beauty motor, the announcer would then say:
Ride with Britt Reid in the thrilling adventure [title of episode inserted]! The Green Hornet strikes again!
When the series first began in 1936, this was originally:
Ride with Britt Reid as he races toward another thrilling adventure! The Green Hornet strikes again!
and after the thrumming of the hornet sound, Britt Reid would then call out:
"Hurry, Kato! Here's where we smash a [type of criminal operation featured in the episode inserted] racket!"
The opening sequence of the radio show originally began with the announcer (famed newsman Mike Wallace held the position at some point during the run) proclaiming that the Green Hornet "hunts the biggest of all game ... public enemies that even the G-Men cannot reach," referring to FBI agents. Bureau chief J. Edgar Hoover objected to the line's implication that some crime fighting was beyond the abilities of the FBI, and it was changed to "public enemies who try to destroy our America."
The vigilante nature of his operation quickly resulted in his being declared an outlaw himself, and Britt Reid decided to play to it. The Green Hornet became thought of as one of his city's biggest criminals, allowing him to walk into suspected racketeers' offices and ply them for information, or even demand a cut of their profits. He would be accompanied by his similarly masked but unnamed chauffeur/bodyguard/enforcer, who was also Reid's valet, Kato.
The radio show used Nikolai Rimsky-Korsakov's "Flight of the Bumblebee" as its theme music, blended with a hornet buzz created on a theremin, and "The Infernal Dance of King Koshchei" from Igor Stravinsky's The Firebird, usually used after this announced part:
Stepping through a secret panel in the rear of the closet in his bedroom, Britt Reid and Kato went along a narrow passageway built within the walls of the apartment itself. This passage led to an adjoining building which fronted on a dark side street. Though supposedly abandoned, this building served as the hiding place for the sleek, super-powered "Black Beauty", streamlined car of The Green Hornet. [Sound of Reid and Kato getting into car] Britt Reid pressed a button. [Sound of car starting] The great car roared into life. [Sound of revving engine] A section of the wall in front raised automatically, then closed as the gleaming "Black Beauty" sped into the darkness. [Sound of engine roaring and car driving away]
Relationship to The Lone Ranger
Britt Reid is a blood relative of The Lone Ranger. The character of Dan Reid, who appeared on the Lone Ranger program as the Masked Man's nephew, was also featured on the Green Hornet as Britt Reid's father, making the Green Hornet the grand-nephew of the Lone Ranger.
Confirming this was the November 11, 1947 radio show episode "Too Hot to Handle": After his secret identity was uncovered in a previous episode, "Exposed" (broadcast October 28, 1947), by Linda Travers, a novice reporter secretly hired by Britt's father to check up on him, Britt told his father Dan that he was the masked Green Hornet. After his initial shock and anger, Dan Reid referred to a "pioneer ancestor" of Britt's that he himself had ridden alongside with in Texas, a man who rode a horse and acted as a vigilante, and expressed his pride in and love for his son. As he explained this, the Lone Ranger theme briefly played in the background.
The Green Hornet was played by:
* Al Hodge (who later went on to play television's Captain Video) (1936-1943)
* Donovan Faust (1943-1944)
* Robert Hall (1944-1947)
* Jack McCarthy (1947-1952)
The role of Kato was originated by Raymond Hayashi but handled through most of the run by Roland Parker, who also voiced "The Newsboy" at the conclusion of each episode who hawked the "Extra" edition of The Sentinel that carried the story of the weekly racket or spy ring being smashed, concluding with:
"Read all about it! Green Hornet still at large! Sentinel Ex-tree, paper!"
Mickey Tolan was the radio series' final Kato.
Jim Jewell directed the series until 1938. Jewell's sister, Lee Allman (Lenore Jewell Allman) wanted to play a part in a radio series at WXYZ so Jim had her written into The Green Hornet. She was the only actress to play Lenore Case, Britt Reid's secretary, during the entire run of the series.
Lenore Case, known as "Casey", was aware of her boss' double life, but only in the later years of the run (specifically in the episode "Miss Case Keeps a Secret", February 17, 1948). Similarly, another confidant, Police Commissioner James Higgins, did not come into existence until near the end of the series; he was introduced in the November 11, 1947 episode "Too Hot to Handle" as an old friend of Dan Reid's who was being blackmailed and who was rescued by the Green Hornet. Shortly thereafter, either Dan Reid or Britt himself confided the Hornet's secret identity to Higgins.
Other major characters in the radio series included:
* Mike Axford (originated by and played by Jim Irwin until his death in July of 1938, then played for most of the series by Gil Shea), a bombastic former policeman who originally had been hired by Britt Reid's father as a bodyguard for Britt, but who drifted into becoming a reporter for The Daily Sentinel by virtue of his contacts at Police Headquarters (especially his best friend Sergeant Burke, known usually as "Sarge"). He was the most dedicated pursuer of the Green Hornet (while expressing his admiration for the Hornet's ability to both smash criminals and elude the authorities). He was known for his pet phrases "Holy Crow!" and "Sufferin' Snakes!" and his usual parting phrase "See ya later. So long!"
* Gunnigan, the irascible city editor of The Daily Sentinel (whose temper invariably got worse in the presence of Axford or even when Axford was talking to him on the phone).
* Ed Lowery (played by Jack Petruzzi), one of The Sentinel's best reporters, who also admired the Hornet.
* "Clicker" Binny, a female photographer for The Sentinel who usually teamed up with Lowery on news assignments and filled in as Britt Reid's secretary on those occasions when Lenore Case was away.
When "Clicker"'s character was written out of the series (in the episode "The Corpse That Wasn't There", broadcast on February 28, 1943, a letter from "Clicker" states that she has become a Second Officer in the WACS stationed in North Africa), her place was filled in 1942 by Gale Manning, whose southern drawl and "dumb southern belle" manner (which didn't fool Britt Reid but which totally irritated both Lowery and Axford, especially when she managed to get information or stories that neither man could) hid both her intelligence and her ability as a top-notch reporter. After Gale's character left the series, Lenore Case herself sometimes joined either Lowery or Axford on assignments.
Two major foes for The Green Hornet were the mysterious "Mr. X", a criminal mastermind introduced in the episode "Walkout for Profit" (broadcast June 21, 1941) who became part of a storyline in 1941 pitting the Hornet against him in an ongoing battle, and Oliver Perry (1945-49), a famous but unscrupulous private detective who repeatedly returned to try and unmask The Green Hornet. Perry suspected Britt Reid of being the Hornet but was never able to prove it, and episodes featuring him always ended with the Hornet either outwitting him or humiliating him, if not both, to the point where he was forced to leave town.
Film serials
The Green Hornet was adapted into two movie serials. The first serial, titled simply The Green Hornet and released in 1940, starred Gordon Jones in the title role, albeit dubbed by original radio Hornet Al Hodge whenever the hero's mask was in place, while The Green Hornet Strikes Again! of 1941 starred Warren Hull. Keye Luke, the famous #1 son of the Charlie Chan films, played Kato in both; also starring in both serials were Anne Nagel as "Lenore Case" and Wade Boteler as "Mike Axford". Even though America wasn't in the war yet, Kato's nationality is changed to Korean. Ford Beebe directed both serials, partnered by Ray Taylor on The Green Hornet and John Rawlins on The Green Hornet Strikes Again, with George H. Plympton and Basil Dickey contributing to the screenplays for both serials. The Green Hornet ran for 13 chapters while The Green Hornet Strikes Again had 15 installments, and in both serials the plotlines followed the radio series style, with the Hornet and Kato smashing a different racket in each chapter. In each serial, they were all linked to a single major crime syndicate which was itself put out of business in the finale, while the radio program had the various rackets completely independent of each other.
Inspired by the success of the Batman series, ABC brought The Green Hornet to television in 1966-67, an adaptation which introduced martial arts master Bruce Lee to American audiences as Kato and starred Van Williams as the Green Hornet. Unlike Batman, the TV version of The Green Hornet was played straight, but in spite of the considerable interest in Lee, it was cancelled after only one season. However, the rise of Lee as a major movie star ensured continued interest in the property to the point where proposed Green Hornet productions typically have the casting of some major martial arts film star as Kato as the first order of business. Lee's popularity in Hong Kong, where he was raised, was such that the show was marketed there as The Kato Show.
As with the later years of the radio version, secretary Lenore "Casey" Case is again aware of Reid's secret, and the Hornet also has a confidante within the law enforcement community, but now he is District Attorney Frank P. Scanlon. This character was changed from the original's police commissioner because the same company's Batman TV series was already using a man in that post as the official contact of its hero. William Dozier, executive producer of both programs, wanted no more comparisons between the two than were unavoidable. Michael Axford, the bodyguard turned reporter of the radio series, is now simply the police reporter for The Daily Sentinel, with no history of having been on the force.
The music of "Flight of the Bumblebee" was so strongly identified with The Green Hornet that it was retained as the theme, orchestrated by Billy May (who also composed the new background scores) and conducted by Lionel Newman, with trumpet solo by Al Hirt, in a jazz style nicknamed Green Bee. Each episode begins with the following monologue (narrated by William Dozier):
"Another challenge for the Green Hornet, his aide Kato, and their rolling arsenal, the Black Beauty. On police records a wanted criminal, the Green Hornet is really Britt Reid, owner and publisher of The Daily Sentinel; his dual identity known only to his secretary, and to the district attorney. And now, to protect the rights and lives of decent citizens, rides the Green Hornet!"
Britt Reid (in the confines of the shows version of the story) creates the Green Hornet persona intentionally as a ruthless underworld figure (unlike many other superheroes such as Spider-Man who are only many times mistaken for criminals or like either characters of The Punisher or Spawn who gain a criminal reputation due to their violent methods for handling various criminals.) in order to further infiltrate the Criminal Underworld and deal with it more directly. As the Hornet, Reid is able to interact with criminals in a more face to face manner than other vigilantes would also unlike Batman who fights criminals in a shadowy, indirect manner or Superman or many other similar heroes (including The Lone Ranger) who fight crime in a very public and forthright way (which in itself is similar to many real life Law Inforcement Organizations or various public figures of Victims Rights.). The Hornet instead of outright threatening any Criminals to stop their activities instead pretends in to "Want In" on their action (from high stakes theft to Extortion) or if the crimes are percived as either to violent or extreme The Hornet threatens to not "Interfere" with his own supposed criminal actions within the city or which may be connected to the people that the actual criminals are victimizing. This version of the Hornet persona also seems to give Reid a sense of protection that his secret identity will never be found out due partially to the fact that most criminals dont seem to seek revenge mainly due to their belief that the Hornet is a Criminal not a hero so would not hold himself to the same moral limits as a heroic figure. Also (as is seen in many episodes) many criminals are far too afraid to know who the Hornet really is out of fear that they will be killed.
The TV series displayed the Hornet's car, Black Beauty, a 1966 Chrysler Crown Imperial sedan customized by Dean Jeffries. The Beauty's regular headlight cluster supposedly could be flipped over to reveal what studio publicity described as "infra-green" headlights, which doesn't actually exist. Furthermore, the car's headlights could not be rigged to flip, so green filters were seen deployed constantly. It was revealed in the related comic book spun off from the show that the green headlights used polarized light which in combination with the appropriately polarized vision filter (translucent green sun visor-like panels that the two men pulled down when needed) could provide almost as much illumination as conventional headlights while being extremely dim - almost invisibly dark - to someone without the filter. In some early episodes in two-shots with both Van Williams and Bruce Lee inside the Black Beauty, as seen through the windshield, Lee's face was tinted green since he was supposedly seen through a "polarized" filter in the form of a large pull-down, transparent green-gray visor; Williams on the other hand was seen in normal light. The tint is not present in close-ups of Lee alone. Since specification of what this lighting was supposed to indicate never actually made it into any finished episode, the effect was unexplained to the audience and soon discontinued. However, most night shots were actually filmed during the daytime by the day for night technique, giving the illusion of night-time as the actual car headlights were not polarized but just had green lenses, which would render the headlights useless for real night-driving. As the series progressed, the process was executed less effectively, reaching the point where the viewer would need context to understand that some scenes were supposed to be taking place at night, as can be observed in screening the episodes in either original network airing or syndication (production) order.
The Black Beauty could fire explosive charges from tubes hidden behind retractable panels below the headlights which were said to be rockets with explosive warheads; had a concealed-when-not-in-use, drop-down knock-out gas nozzles in the center of the front grille and the vehicle could launch a small flying video/audio surveillance device (referred to as the scanner) through a small rectangular panel in the middle of Black Beauty's trunk lid. Working "rockets" and "gas nozzles" were incorporated into the trunk lid as well.
Green Hornet comic books began in December 1940. These, initially titled Green Hornet Comics, were originally published by Helnit Comics, sometimes called Holyoke, with the writing attributed to Fran Striker. This series ended after six issues. Several months later, Harvey Comics launched their own version, beginning with issue #7. This series ended in 1949, having run to 47 issues. (The title was changed to Green Hornet Fights Crime as of issue #34 and Green Hornet, Racket Buster with issue #44). Harvey additionally used the character in the public-service one-shot, War Victory Comics in 1942, and gave him one adventure in each of two issues of All-New Comics, #13, where he was also featured on the cover, and #14, in 1946. Dell Comics published a one-shot with the character, officially entitled Four Color #496, in 1953, inexplicably several months after the radio series ceased production. Both stories therein share titles with late-era radio episodes ("The Freightyard Robberies," June 23, 1949, and "[The] Proof of Treason," October 17, 1952) and might well be adaptations. In 1967 Gold Key Comics produced a series based on the TV show, which reflected that program's short life with a brief three-issue run.
Beginning in 1989, NOW Comics produced a line of Green Hornet comics, initially written by Ron Fortier and illustrated by Jeff Butler. Inspired by the aforementioned Lone Ranger connection of radio days, they attempted to reconcile the different versions of the character into a multi-generational epic. There was even a portrait of the Ranger in the Reid family's mansion, though due to the legal separation of the two properties, his mask covered his entire face (as in the Republic serials) and he could not be called by name. In this interpretation, the Britt of the radio series had fought crime as the Hornet in the 1930s and 1940s before retiring. In NOW's first story in the line, back-dated to 1945 (in Vol. 1, #1, November 1989), the original Kato (named in the comic series Ikano Kato)'s nationality is revealed to be Japanese, but that because of the political/popular feeling of that time against the Japanese and through Britt Reid's efforts, this had been hidden and officially Kato was "Filipino", thus preventing him from being sent to an American internment camp. A shocking twist to the comic series' modern-day storyline is that Britt Reid is murdered in Vol. 1, #5, March 1990, on the orders of mob-heiress Angela DeVane and at that very moment back in Japan, Ikano Kato suddenly awakens from a deep sleep, telling his wife sorrowfully, "My friend is dead."
The television character was revealed to be the namesake nephew of the original Britt Reid, referred to as "Britt Reid II" in the genealogy, who took up his uncle's mantle after his friend, an up-and-coming political reformer, is assassinated. In the comic, his nephew, Paul Reid, a concert pianist, takes on the role of the Hornet after his older brother Alan is killed on his very first mission and is assisted by a new, female Kato trained by Ikano Kato.
Another major character was Diana Reid, the original Britt Reid's daughter, who had become District Attorney some time after the TV series' Frank Scanlon had retired, and used her position to provide information and assistance to the Green Hornet exactly as Scanlon had. As the comic series progressed, a romantic relationship formed between Diana and Hayashi (at one point Diana thought she was pregnant with Hayashi's child, and in the very last issue is discussing wedding plans with his sister) and a possible bond between Mishi and Paul was hinted at.
There were two main Green Hornet series from NOW, as well as various annuals, mini-series, and spin-offs. The first series, referred to as Volume One, began in 1989 and had reached 14 issues when the company suspended operations for several months. Volume Two began in 1991 and lasted 40 issues, ending in 1995 because the publishers went out of business. Like Tonto before him, Kato (specifically, the Bruce Lee-based one) got his spin-off solo adventures: a four-issue miniseries in 1991, and a two-issue follow-up in 1992, both written by Mike Baron. He also wrote a third, first announced as a two-issue mini, then as a graphic novel, but it was never released due to the company's collapse. Tales of the Green Hornet, consisting of nine issues spread out over three volumes (two, four, and three issues, respectively), presented stories of the two previous Hornets, with Volume One having a plotline, starring Green Hornet II, provided by Van Williams, the actor who played that character's basis on TV. The follow-ups, beginning with the most detailed version of the Green Hornet's origin in any professional medium, were written by James Van Hise. Other mini-series included The Green Hornet: Solitary Sentinel (a three-issue story retroactively set between Volumes 1 and 2, with a major role for Britt II) and Sting of the Green Hornet (a four-issue series starring the original Green Hornet and set during World War II, involving Nazi espionage and in which the Hornet and Kato encounter unnamed versions of The Shadow and the future Captain America. They also barely miss running into reporters who look like Clark Kent and Lois Lane).
Another three-issue series (June - August, 1993), entitled Dark Tomorrow, focused on a Green Hornet in the future of 2080 who had actually turned into the criminal he was pretending to be and who was fought by the Kato of that era in an effort to set him back on the right path. This series featured a hallucinatory episode in which the future Green Hornet was attacked and beaten by each of his Green Hornet ancestors (in attacking order: Britt Reid I using his gas gun, Britt Reid II with his Hornet's Sting, Paul Reid with his fists and the future Hornet's own father) and the unnamed Lone Ranger as well. An interesting twist is that the Green Hornet of Dark Tomorrow has dark hair and Asian features beneath his hologram mask, while the future Kato has blond hair and Caucasian features. This Kato even said that they were blood related. Furthermore, the art indicated that the Dark Tomorrow Hornet was the grandson of Paul Reid and Mishi Kato. The main Hornet of this comic is named Clayton "Clay" Reid, and a family tree feature in The Green Hornet, Vol. 2, #26, October 1993, gives his father the first name Gordon and the only depicted future Kato the given name Luke (these are references to actors Clayton Moore {the Lone Ranger}, Gordon Jones {the Hornet in the first Saturday matinee serial} and Keye Luke {Kato in both serials}).
Discounting depictions of the cars utilized by the 1940s and 1960s Hornets, there were two different versions of the Black Beauty used in the NOW comic series. The first was based on the Pontiac Banshee. Painted black and green, as a sports/exotic car, it was a big change from the two Black Beauty limousines used by previous Green Hornets. With the realization that such a distinctive vehicle was inappropriate to the nature of the Hornet operation, the series writers created a storyline in which the Black Beauty was destroyed and replaced by a 4 door sedan, this time based on the 91-96 Oldsmobile 98 Touring Sedan.
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VAMPIRE HUNTRESS
The Vampire Huntress Legend Series (VHL) is a twelve book series written by Leslie Esdaile Banks under the pen name L.A. Banks. The series centers around a young twenty-something woman named ...
BRETT MATTHEWS
Brett Matthews is an American writer of comics and TV shows. He was assistant to Joss Whedon on TV shows Buffy the Vampire Slayer, Angel and Firefly. He scripted the Firefly ...
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Tim Seeley began his career working for a children's book company but also penciled scripts for Avatar Press on the side. Also early on in his career he worked for the ...

redpajama_set_name: RedPajamaCommonCrawl


As a global ideas shop, our mission is to create ideas that are humanly relevant. gyro is advertising age's 2016 b-to-b agency of the year and the bma's 2015 and 2014 global b-to-b agency of the year. our 600 creative minds in 14 offices work with top companies including blackberry, danone, ebay, fedex, google, hp, jabra, john deere, tate & lyle, td ameritrade, time inc., usg and vodafone.


text:
Q: rest service adapter support and authorisation I need to call a rest service using HTTPS as part of my SI flow. I may additionally have to send user name and password as headers to authorize my access. What are the tools available to configure this in spring integration?
Thank You

A: HTTPS should "just work".
You can set headers with a header enricher and set mapped-request-headers on the outbound gateway to ensure your headers are mapped.
For more sophistication, you can customize the RestTemplate and inject it into the outbound endpoint.
See here for an example of configuring the underlying request factory.

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text:
Q: Audio Session "Ducking" Broken in iOS 4...? I've an app which uses the MPAudioPlayerController to access the iPod music library, and an AVAudioPlayer to overlay audio on top of the music.  I've used this documentation as a guide. Specifically:

Finally, you can enhance a category to automatically lower the volume of other audio when your audio is playing. This could be used, for example, in an exercise application. Say the user is exercising along to their iPod when your application wants to overlay a verbal message—for instance, "You've been rowing for 10 minutes." To ensure that the message from your application is intelligible, apply the kAudioSessionProperty_OtherMixableAudioShouldDuck property to the audio session. When ducking takes place, all other audio on the device—apart from phone audio—lowers in volume.

But I'm not seeing this behavior.  In fact, what I see (or hear, rather) is that if I setup the AudioSession with kAudioSessionProperty_OtherMixableAudioShouldDuck set to true, the MPAudioPlayerController initial volume gets reduced, and if I then call pause (and then play again) on the MPAudioPlayerController the volume level gets increased to "normal" levels.  Playing the AVAudioPlayer does not have any affect on the audio level...
So I've set up a simple test case to reproduce this.
In a ViewController header:
#import <UIKit/UIKit.h>
#import <MediaPlayer/MediaPlayer.h>
#import <AudioToolbox/AudioToolbox.h>
#import <AVFoundation/AVFoundation.h>

@interface MusicPlayerVolumeTestViewController : UIViewController <AVAudioPlayerDelegate>
{
    UIButton *musicButton;
    UIButton *soundButton;
    AVAudioPlayer *audioPlayer;
    MPMusicPlayerController *musicPlayerController;
}
@property (nonatomic, retain) IBOutlet UIButton *musicButton;
@property (nonatomic, retain) IBOutlet UIButton *soundButton;
@property (nonatomic, retain) MPMusicPlayerController *musicPlayerController;

- (IBAction)musicAction;
- (IBAction)soundAction;

@end

and in the implementation:
- (void)viewDidLoad
{
    [super viewDidLoad];

    //Setup our Audio Session
    OSStatus status = AudioSessionInitialize(NULL, NULL, NULL, NULL);
    //We want our audio to play if the screen is locked or the mute switch is on
    UInt32 sessionCategory = kAudioSessionCategory_MediaPlayback;
    status = AudioSessionSetProperty (kAudioSessionProperty_AudioCategory, sizeof (sessionCategory), &sessionCategory);
    //We want our audio to mix with other app's audio
    UInt32 shouldMix = true;
    status = AudioSessionSetProperty (kAudioSessionProperty_OverrideCategoryMixWithOthers, sizeof (shouldMix), &shouldMix);
    //Enable "ducking" of the iPod volume level while our sounds are playing
    UInt32 shouldDuck = true;
    AudioSessionSetProperty(kAudioSessionProperty_OtherMixableAudioShouldDuck, sizeof(shouldDuck), &shouldDuck);
    //Activate our audio session
    AudioSessionSetActive(YES);

    //Setup the Music Player to access the iPod music library
    self.musicPlayerController = [MPMusicPlayerController applicationMusicPlayer];
    [self.musicPlayerController setShuffleMode: MPMusicShuffleModeSongs];
    [self.musicPlayerController setRepeatMode: MPMusicRepeatModeNone];
    [self.musicPlayerController setQueueWithQuery:[MPMediaQuery songsQuery]];

    //Setup a AVAudioPlayer sound to overlay against the Music Player audio
    NSURL *soundURL = [NSURL URLWithString:[[NSBundle mainBundle] pathForResource:@"overlay" ofType:@"mp3"]];
    NSError *error = nil;
    audioPlayer = [[AVAudioPlayer alloc] initWithContentsOfURL:soundURL error: &error];
    if (!audioPlayer)
    {
        NSLog(@"Could not create audio effect player: %@", [error localizedDescription]);
    }
    [audioPlayer prepareToPlay];
}

- (IBAction)musicAction
{
    if (self.musicPlayerController.playbackState == MPMusicPlaybackStatePlaying)
    {
        [self.musicPlayerController pause];
    }
    else if (self.musicPlayerController.playbackState == MPMusicPlaybackStateStopped
          || self.musicPlayerController.playbackState == MPMusicPlaybackStatePaused)
    {
        [self.musicPlayerController play];
    }
}

- (IBAction)soundAction
{
    if (audioPlayer.playing)
    {
        [audioPlayer pause];
    }
    else
    {
        [audioPlayer play];
    }
}

I've wired up a couple UIButtons. One for the musicAction (used for playing/pausing the MPMusicPlayerController) and one for the soundAction (used for playing/pausing the AVAudioPlayer).
As mentioned, If I tap the musicAction button, the music plays, but at a reduced volume level, and if I tap the soundAction button, the overlay plays, but has no affect on the volume of the MPMusicPlayerController.  And, more bug-like, is that when I pause and then play the MPMusicPlayerController the volume of the music increases to the level it would have been if I did not setup the AudioSession.
I'm interested to know if anyone else has had this experience, and if so if you've found a work around (or can tell me that I'm doing something wrong).  Otherwise, I guess I'm off to Radar.
Many thanks,
Levi

A: I used this post when I was having a similar issue and had trouble getting it to work consistently.  It would work for a while and then just get stuck "ducked".  I spent a lot of time researching and debugging this and finally just called Apple. They told me to look at the breadcrumb sample code. I followed that example and everything worked fine.
Here is Apple's sample code:
http://developer.apple.com/library/ios/#samplecode/Breadcrumb/Introduction/Intro.html
The support/developer at Apple also said to watch the order of how and when they set the session properties.  That apparently was the trick.  After reading a lot of posts here and elsewhere, I had settings that conflicted with each other.  Starting from scratch and following the bread crumb example made it work.  I have not had an issue since.
I posted the same answer here:
How to unduck AVAudioSession
To me this answer was borderline trade secret since it was so difficult to get working and there were working apps in the market. For me, seeing a working example, which was pretty much just the sound ducking and unducking was worth its weight in gold.
Also, I mentioned to Apple that this was a known issue and they did not agree.  They were not aware of any issue here.  Sure enough if you follow the breadcrumb example it works with out any strange session deactivate and reactive, etc., etc.

A: Ducking is not automatically related to your playing sounds in any way. When you turn on ducking, background sound ducks. When you turn off ducking and deactivate your audio session, background sound comes back to its original level.
So don't turn on ducking in your viewDidLoad. Don't turn it on until you are actually about to play the sound. That causes the background sound to duck. When your sound is done playing, turn ducking back off and toggle your audio session inactive and active again. That causes the background sound to unduck:
UInt32 duck = 0;
AudioSessionSetProperty(kAudioSessionProperty_OtherMixableAudioShouldDuck,
                        sizeof(duck), &duck);
AudioSessionSetActive(false);
AudioSessionSetActive(true);

A: The documentation isn't clear about what the expected behavior of ducking is supposed to be, but what I've found is that if you set up your audio session for ducking, when you activate the audio session, it ducks, and when you deactivate it, it unducks. So you have to keep activating and deactivating the audio session to duck the music just for your sound cue.
One bug I found is that if you deactivate the audio session while inside the audioPlayerDidFinishPlaying:successfully: method of your AVAudioPlayerDelegate, the ducking isn't removed, and the volume is kept at the same level. I've already filed a Radar on this, but it doesn't hurt if other file similar ones. In fact it'll probably put some pressure on them to fix it.
What you're doing is starting the audio session and keeping it on, so it ducks immediately and stays ducked, so that it won't duck the music any further when you play a sound. The issue with the music volume going back up after pausing and playing the music sounds like a bug.


What I like: It's a game not afraid to do things differently. Card-based conflict resolution.
Not So Much: UI makes many actions more inefficient than it should be. Lack of variety can make game feel a bit repetitive.
Other Stuff You May Like: Developers say they plan to expand via free DLC!
The Verdict: May appeal to players on the lookout for a strategy games that play differently than the norm and are willing to put up with UI inefficiencies.
Disclaimer: A review copy was provided by Muha Games.
The land of Thea has been plagued with darkness, but recently there has been a glimmer of hope. The sun has started shining, albeit weakly after years of absence. A small band of villagers has banded together, trying to survive, trying to rebuild a community. With the returning light, they are willing to move a little farther outside the confines of their village. At first glance Thea would appear to share similarities with games such as Civilization or Warlock, but it doesn't take long to figure out this isn't the case.
Looks like a Civ game, but don't judge a book by its cover.
At the start of the game the player chooses a god, determining the perks that will be received. The god gains experience which carries over from game to game and grants more perks. A total of 8 gods are unlocked with play, but I'm not sure what the criteria is to unlock them.
Zorya is the fine lady who provide guidance during my initial quest to save Thea. With her earned experience she'll be even more powerful in the next game she's selected.
There are a handful of settings available to tweak different aspects of the game. Two interesting things to note are the Reshuffles and the Saves options. Conflicts are resolved by playing a card-based mini game. Reshuffles allow the player a 'do over' if they don't like the initial shuffle. Thea has an odd save game system. Thea will generate an autosave every 5 turns and when quitting the game. The Save option allows the player to also save any time. The odd thing is that there is only one save file at any time. This means that if you start a new game, your prior game is automatically ended. You can only have one game going at a time. I'm guessing this is because of the god unlocking system. In general this probably isn't a problem unless you like to have multiple games going on at once.
Changing the difficulty has an effect on the final score.
The tutorial and in-game manual do a nice job explaining the game's concepts. The tutorial guides the player with a series of missions, explaining concepts as needed. The manual provides a little more detail but doesn't go into all of the nuts and bolts. The developer was quick to fill in the details on Steam with the few questions I had.
In Thea you will only have one settlement. Always. Remember how I said this isn't like Civ? I wasn't kidding! In this settlement your villagers can gather the resources within the immediate vicinity, craft tools, cook food, and make weapons and armor. They are basically the support staff for your more adventurous people who go on expeditions. Don't equate staying in the village as staying safe though. Wandering bands of creepies will come and visit, so leaving some protection behind isn't just a good idea, it's necessary.
In the beginning the villagers won't have great equipment. They'll carry the most basic weapons (when they have one), most have no armor, and no tools to help them accomplish their tasks more efficiently. Crafting helps villagers become more effective by creating better equipment. The initial items available for crafting are very basic, but more are unlocked after acquiring research points.
Limited choices at the start open up with some research.
Each crafted item requires a recipe of ingredients. For example, clothing can be made up of a combination of string and leather. The basic variety of string and leather will create basic clothing. Using more advanced string and leather material creates better clothing. Unfortunately for your villagers, their initial supply of materials is of a limited quantity and quality. To craft an item, select the type, choose the resources and assign one or more workers. Presto! You get an item in a number of turns, based on the effectiveness of the assigned workers. A number of research points are also added to your pool, which will be used to unlock more crafting and gathering choices. Since research points are given for crafting, it feels like the little guys and gals are learning by doing instead of sitting up in some dusty library performing research.
Using different materials can create items with different benefits, weight, research points and labor required.
I could use basic string to create a shirt, but using scaled leather and vine creates a reptile vest, offering more protection and research points. As research unlocks more materials, testing out the different combinations becomes more time consuming. The min / maxer in me needs to test all of the combinations, even if the process can get tedious. It would be nice if the game kept track of tested combinations and what the effects were, maybe allowing the player to select a combination from a list. Without some pen and paper I can't remember what the different combinations do.
The settlement is limited to 10 buildings with a total of 9 types to unlock, so city development isn't a huge part of the game. Constructing buildings is handled the same way as crafting items, with the materials affecting the quality of the structure and the benefits it conveys.
Adults can contribute immediately, but when a child comes of age they can be assigned a class, which helps to fill a specific need.
Like any good human resource manager acknowledges, people are your greatest asset. You need people to collect resources, cook food, create weapons, build structures, fight enemies, talk their way out of jams, cure diseases, sneak past monsters...the list goes on. Matching people's skills to the right job can make life much easier. Each person has a class, which defines where they will likely excel. People in Thea have many attributes, and like mentioned above not all of the challenges are related to combat. Your buff soldier may be of little use talking her way out of a jam. It's pretty safe to say your party of villagers will encounter some combat, so having an adequate amount of warriors is paramount, but you never know what other skills will be of value. It pays to try and bring a diverse group of people on expeditions to cover the bases. The game needs a roster grid where villagers' skills can be easily viewed and compared all at once. Taking stock of villager skills requires clicking each one and taking note of their stats. Sometimes the UI is the biggest enemy you'll encounter in Thea.
Expeditions serve to explore the landscape for resources and points of interest. The group needs to bring food from town to avoid starvation, but can supplement their supply with foraging if a source of food is found. More resource deposits are available as research unlocks different resource types. There are also locations to explore, often accompanied with little text adventures. The available choices are driven by your party's skills. Combat, or some other type of challenge is often involved.
Sometimes a little exploration can net some loot without fighting!
Like many games with inventory management, this is easily one of the more tedious aspects of the game. Each villager needs to be selected to determine what equipment they have. The new items have to be manually compared with the existing equipment to see which one is better. To make matters more difficult there isn't a way to highlight items recently added to the inventory, so it can be a pain to determine what the new items are. When only one new item is acquired it isn't difficult to remember what it looks like, but there are times when more items are acquired at once.
It won't take long to find a lair, which spawn groups of enemies that will harass your expeditions and village. Killing off the lair will remove one source of trouble and help acquire some loot in the process.
Sometimes there are options with how to handle an enemy. Non combat actions tend to be less risky as damage inflicted doesn't carry over after combat. Sometimes the are consequences for failing a challenge, so they aren't risk free. There is a general indication regarding how tough an encounter may be. Viewing your group and filtering the skills by challange type can help decide which may lead to the easiest success. I missed that filter for the longest time. Again, I wish there was a roster screen that displayed the abilities for all of the villagers at once, in a grid.
Events aren't always tied to exploring a location. Random events will occur throughout the game, and provide the opportunity for some choices - unless your party doesn't have the prerequisite skills. It's always a bit frustrating knowing there are some choices I didn't get, wondering what I was lacking. I don't mean this in a bad way. My curiosity gnaws at me knowing I'll never know the answer. Well, I may get the event again in the future when the prerequisites are met.
There are many situations that lead to combat. Your success will depend on the villagers' attributes, equipment, and your skill in the card-based combat. Before entering battle the number and types of enemies are revealed, but no information about them - even if you have fought creatures of that type before. Surely you can see if they are carrying spears instead of swords, or remember the piercing bite of the snake you've encountered earlier. You either need to rely on memory or take notes.
Luckily the card-based resolution system is pretty fun to play. It begins with a planning phase. Half of the cards are ready to enter battle, and the other half can use tactical abilities to aid their comrades. Once the planning phase is done, combat moves to the resolution phase where damage is done.
The system is pretty simple, but has enough nuance to remain interesting throughout the game. Basically, each card has the ability to inflict and absorb damage. Also, their level determines if they can resist some tactical effects. Each side takes turns placing cards on the table, or using the tactical effects. It is these tactical effects that make the battles interesting.
There are 3 basic damage types. Slash damage has no unusual effects. Blunt weapons can use any remaining damage after a kill to damage a second enemy. Normally cards enter the battlefield from left to right, but a card that inflicts piercing damage is placed just before the last card if it is an enemy card. Kuba above has piercing damage so he can injure the Utopiec when he enters instead of waiting until the resolution phase. Since he's entering to the left of Utopiec, he'll get to attack before she does.
The cards on the right hand side are in the tactical group. They can't enter the battlefield ready to inflict damage, but they can use their abilities. First Action can move your last card to the front of the line. Support Ally increases the last ally's attack, while Shield Ally increase their defense. Counter Offense and Counter Tactic can remove an unplayed enemy card from the round. Confuse makes the enemy card skip a turn. So, the flow of the battle can change based upon the tactical skills used. Enemies can also have these skills. The AI seems to play a good game.
Once the planning phase is complete, cards attack from left to right. A card randomly attacks the closest enemy to either side, so it doesn't always play out how you want it to. If the battle isn't finished after 2 combat rounds, the cards that haven't had their health reduced to zero are reshuffled for a new planning phase. This means that your options can change as the battle goes on.
It's important to note that all conflicts are resolved using this card game - combat, diplomacy, hunting, etc... Different attributes affect the outcome though. Damage and armor are used to inflict and absorb damage in a fight, but in a diplomatic challenge the attributes used are speech and willpower. The same tactical abilities are available, but are also powered by a different set of attributes. This is why it's important to have a diverse set of skills in your expedition parties.
The damage a character receives during a fight heal with time once the fight is over, or can be healed at a healer's hut. Each turn wounded villagers have a chance to die. If a medic is in the party it decreases that chance of death. Death seems pretty rare, especially with a healer in the party.
The card game succeeds and is an interesting, sometimes tense challenge. Choosing the order to play cards and the tactical abilities to use provides many opportunities to affect how the battles play out. The card mini game occurs many times over the course of a game of Thea: The Awakening. I had to start making use of the auto resolve when I expected an easy win, otherwise it started to get a little tedious at times. I didn't experience any unexpected results when I used auto resolve. It would be nice if each type of challenge had something unique to differentiate them from the other challenge types.
Completing events and winning conflicts earns all of the villagers experience. When enough experience is earned, all villagers level up and each improves a random attribute. Class attributes are the most likely to improve, followed by any skill they already have. It's rare, but they can even acquire a skill unrelated to their class.
It shouldn't take too long before research unlocks an item - allowing different resources to be collected, new items to be crafted, or new buildings to be erected.
Resources further from the center are more advanced and offer greater benefits.
Improve your village with a handful of buildings.
I found a nice spot to camp and collect resources, but realized I only have 1 person capable of doing so. If I can craft some gathering tools my entire expedition can contribute. It would help if I actually had the needed materials to create the crafting tools!
A nice spot for camping!
My expedition is short on gatherers.
Usually 4X games have time scales measured in weeks, years or centuries. Thea is also different in this regard, having a day and night cycle. The landscape darkens, making it more difficult to spot enemies or points of interest. Creatures become more emboldened, increasing the risk of attack. It isn't Dying Light nighttime scary, but it is certainly more dangerous.
Expeditions need to return home to drop off any harvested resources and loot. That obsolete weapon can be broken down into some useful components used in crafting!
The game can be won by following a series of story quests, or fulfilling a set of advancement criteria - population size, research, combat and building construction. I won my game with the story quest. The other criteria seems like it could take a while.
I haven't had any crashes since the game left early access. Turn times are fast since there aren't any competing AIs that require a lot of thinking, just the random baddies moving around the map. The graphics are attractive and music soothing.
There is quite a bit of writing in the game. It does a pretty good job of painting Thea as a world recovering from cataclysm. It is at its best when the tone is serious. Occasionally there are some morally ambiguous decisions. There is some silliness which didn't quite work for me.
My specs: Windows 7 64-bit. Intel Core i& 860 @ 2.80 GHz. 8 Gig RAM. ATI Radeon HD 7870.
Thea: The Awakening poses a problem for me. It contains an interesting set of features and isn't a copycat of other games of this nature. Well, I'm not sure how many games are exactly of this nature. It contains some 4X exploration, story based questing, a card mini game, resource collection and crafting, character management. It even contains a meta game of unlocking and leveling up the gods so they provide better bonuses.
The day / night cycle for a game this type is really cool. When darkness comes it is easy to stumble into a group of enemies and exploration is tougher. I can tell Muha Games didn't want to make the same game as everyone else.
There are many times the user interface gets in the way. A lot. Trying out different ingredients for crafting is both interesting and tedious. Same with cooking up different recipes of food - greater food variety gives bonuses. It's busywork. Did I combine fish with meat or bird meat already? Seaweed? Herbs? I can't remember. Party management requires a lot of clicking. Who can use this new sword? Select a person, look at their equipment, select another. Wait, who was the guy I wanted to have high dexterity? Click back through the people. The game needs a grid to view the skills of everyone at once.
Even something as simple as movement across the map is more frustrating than it needs to be. For some reason my group periodically leaves 'movement mode' and I have to reselect the command from the popup menu. Resources can be difficult to see on the map, but toggling on the resource icons removes the movement point display and points of interest icons.
Still, I'm playing a second game and have played for over 30 hours. Sometimes I quit in frustration, but then start it back up later. If you like experiencing games that aren't the same thing rehashed 100 times and have patience to endure a sometimes difficult UI, then you may want to give Thea: The Awakening a shot. It isn't an expensive game with a regular price of $20, $16 until December 1st (on Steam). It's not a huge investment to try something different. But, if you need to be careful with your gaming dollars you may want to hold off for now.


The International Telecommunication Union (ITU) and the Ministry of Modernization, Argentina, together with UNESCO, ECLAC, UNIDO, CITEL, COMTELCA and Asiet organized the 1st Forum on Artificial Intelligence and the Internet of Things in Smart Sustainable Cities in Latin America, from 29 to 30 May 2018 in Buenos Aires, Argentina.
The forum and the information session were held in English and Spanish.
The combination of high-speed, resilient, low-latency connectivity and technologies such as distributed computing, the IoT, machine learning and artificial intelligence is enabling the transformation towards smarter and more sustainable cities. This forum provided a platform to discuss the role of artificial intelligence and IoT to shape smarter and more sustainable cities and to address urban challenges, with the final goal of improving the quality of life of people.
The forum brought together leading specialists in the field, from city planners to engineers, designers, policy-makers, government officials, regulators, academia, industry and standards experts.


text:
El marquesado de Torreblanca es un título nobiliario español creado el 15 de septiembre de 1776 por el rey Carlos III, con el vizcondado previo de Mogrovejo, en favor de Pedro José Bravo de Lagunas Castilla y Zabala, capitán de la Real Compañía de guardias alabarderos del virrey del Perú, en atención a los servicios de su familia en el Perú.

Su denominación hace referencia a la localidad española de Torreblanca, en la provincia de Castellón de la Plana, donde aún se conserva la llamada Torre del Marqués, también llamada Torre de Doña Blanca.

Marqueses de Torreblanca

Historia de los marqueses de Torreblanca

Pedro José Bravo de Lagunas Castilla y Zabala (n. Lima, 18 de enero de 1751), I marqués de Torreblanca, capitán de la Real Compañía de guardias alabarderos del virrey del Perú desde el 4 de noviembre de 1769. Era hijo de José Bravo de Lagunas y Castilla, capitán de una de las compañías del presidio del Callao y coronel del regimiento de caballería de la villa de Arnedo de Chancay, y su esposa Ana de Zabala Vázquez de Velasco. Le sucedió su hermano:

Toribio Alfonso de Mogrovejo Bravo de Lagunas Castilla y Zabala (m. 1784), II marqués de Torreblanca, XV señor de la casa de Mogrovejo en el reino de León. Le sucedió su hermana:

Petronila Bravo de Lagunas Castilla y Zabala (n. Lima, 25 de septiembre de 1757), III marquesa de Torreblanca.
Casó en primeras nupcias el 2 de junio de 1780 con Francisco Arias de Saavedra y Santa Cruz (1746-1823), I conde de Casa Saavedra, y en segundas nupcias el 10 de noviembre de 1787, en Lima, con Juan Esteban de la Puente y Castro, I marqués de la Puente y Sotomayor, I vizconde de Chiquitanta. Le sucedió su hija:

María Grimanesa de la Puente y Bravo de Lagunas (Lima, 10 de septiembre de 1788-Lima, 21 de septiembre de 1840), IV marquesa de Torreblanca, II marquesa de Puente y Sotomayor, condesa de Villaseñor.
Casó el 29 de junio de 1804, en Lima, con Pedro José de Zabala y Bravo del Rivero (n. 1779), VII marqués de San Lorenzo de Valleumbroso, caballero de la Orden de Calatrava, Gran Cruz de la Orden de Isabel la Católica, gentilhombre del rey, brigadier y luego general de los Reales Ejércitos etc. Le sucedió su hijo:

 Juan de Zabala y de la Puente (Lima, 23 de enero de 1807-Madrid, 29 de noviembre de 1879), V marqués de Torreblanca, I marqués de Sierra Bullones, III marqués de la Puente y Sotomayor, VI conde de Villaseñor, general en jefe del ejército del norte, comandante general del 2.° cuerpo del ejército de África, capitán general de los reales ejércitos, ministro de Estado, Marina y Guerra, presidente del gobierno, presidente de la Junta Consultativa de Gobierno, director general de artillería y caballería, tres veces laureado de San Fernando, caballero del Toisón de Oro, Gran Cruz de Carlos III, Gran Cruz de Isabel la Católica, senador del reino.
Casó el 26 de febrero de 1839 con María del Pilar de Guzmán y de la Cerda (1811-1901), XVIII condesa de Oñate, XVI condesa de Paredes de Nava, dama noble de la Orden de María Luisa. El 7 de junio de 1862 le sucedió su hija:

 María del Pilar de Zabala y Guzmán (Barcelona, 7 de octubre de 1841-11 de febrero de 1915), VI marqués de Torreblanca, XXVI duquesa de Nájera, XX marquesa de Aguilar de Campoo, XIII marquesa de Montealegre, XII marquesa de Guevara, IV marquesa de Sierra Bullones, X condesa de Campo Real (II), XXI condesa de Oñate, XXIX condesa de Treviño, XIX condesa de Paredes de Nava, dama de la reina, dama noble de la Orden de María Luisa, tesorera de la junta de patrones del colegio de la Unión y del de Vista Alegre.
 Casó el 2 de junio de 1861, en Madrid, con Ventura García-Sancho e Ibarrondo (1837-1914), I conde de Consuegra, presidente del Consejo de Estado. El 9 de julio de 1909 le sucedió, por cesión, su hija:

 María del Pilar García-Sancho y de Zabala (Madrid, 2 de junio de 1864-17 de octubre de 1916), VII marquesa de Torreblanca, XXVII duquesa de Nájera, XXI marquesa de Aguilar de Campoo, XIII marquesa de Guevara, V marquesa de Sierra Bullones, XXII condesa de Oñate, XXX condesa de Treviño, II condesa de Consuegra, XXIV condesa de Castañeda, XI condesa de Campo Real (II).
 Casó el 2 de junio de 1886, en Madrid, con Leopoldo Travesedo y Fernández Casariego, senador por Zmora, gentilhombre del rey. El 28 de diciembre de 1917 le sucedió su hijo:

 Juan Bautista Travesedo y García-Sancho (25 de enero de 1890-27 de abril de 1965), VIII marqués de Torreblanca, XXVIII duque de Nájera, XXII marqués de Aguilar de Campoo, VI marqués de Sierra Bullones, XV marqués de Quintana del Marco, XXIII conde de Oñate, XXXI conde de Treviño, XXI conde de Paredes de Nava, capitán de caballería, caballero y diputado decano del Real Cuerpo de Hijosdalgos de la Nobleza de Madrid, gentilhombre de cámara con ejercicio y servidumbre del rey Alfonso XIII.
 Casó el 14 de octubre de 1920, en Bilbao, con María del Carmen Martínez de las Rivas y Richardson (n. 1899), dama de la reina Victoria Eugenia. El 24 de mayo de 1967 le sucedió su hijo:

 José María Travesedo y Martínez de las Rivas (Madrid, 18 de junio de 1924-29 de marzo de 1993), IX marqués de Torreblanca, VII marqués de Sierra Bullones, XVI marqués de Quintana del Marco, IX marqués de Torreblanca, XXIV conde de Oñate, XXVIII conde de Valencia de don Juan, XXII conde de Paredes de Nava, XXXII conde de Treviño, XIII conde de Campo Real (II), XXVI conde de Castañeda, teniente coronel de caballería, miembro de la Asociación de Hidalgos a Fuero de España.
 Casó el 30 de junio de 1948, en Ávila, con María Eulalia Colón de Carvajal y Maroto. El 10 de diciembre de 1969, previa orden del 10 de julio de 1968 para que se expida la correspondiente carta de sucesión (BOE del 22 de julio), le sucedió, por cesión, su hija:

 Carmen Travesedo y Colón de Carvajal (n. Madrid, 21 de diciembre de 1950), X marquesa de Torreblanca, VIII marquesa de Sierra Bullones, de la Diputación Permanente y Consejo de la Grandeza de España, dama del Real Cuerpo Colegiado de la Nobleza de Madrid, dama de justicia de la Orden Constantiniana de San Jorge, dama de la Hermandad del Santo Cáliz de Valencia, infanzona de Illsecas y de la Asociación de Hidalgos a Fuero de España y presidenta de la Maestranza de Caballería de San Fernando.
Casó el 9 de octubre de 1972, en Madrid, con Evaristo Martín de Sandoval y Freire de Tejada (n. 1950), señor divisero del Solar de Tejada etc. El 11 de octubre de 2012, previa orden del 20 de septiembre del mismo año para que se expida la correspondiente carta de sucesión (BOE del 5 de octubre), le sucedió, por cesión, su hija:

María Grimanesa Martín de Sandoval y Travesedo (n. Madrid, 7 de marzo de 1977), XI marquesa de Torreblanca, señora divisera hidalga del solar de Tejada, dama de justicia de la Orden Constantiniana de San Jorge, psicóloga y diplomada universitaria en educación infantil.

Referencias

Bibliografía

Torreblanca
Casa de Zavala


Hey, i need some slowmotion effect to my ragdoll game. So do you now an good example that showes slowmotion?
Im sure you could use python to slow Physics dow somehow, but i don't know how.
I do when properly prop is near object head then the slowmotion should come. But it will not go away again:S Can you help mee with that?
nice file Martinsh… very sweet!


text:
require 'spec_helper'
require 'hotdogprincess'

describe "HotDogPrincess::CoreExtensions::String" do
  include HotDogPrincess

  describe "name_to_key_camecase" do
    it "own the method" do
      expect(''.method(:name_to_key_camecase).owner).to eq HotDogPrincess::CoreExtensions::String
      expect(String.ancestors).to include(HotDogPrincess::CoreExtensions::String)
    end

    it "can convert the string name to a hash key style string" do
      expect('A_Complex_3_Name::==='.name_to_key_camecase).to eq 'a_complex_name'
      expect('Application'.name_to_key_camecase).to eq 'application'
      expect('Content Name'.name_to_key_camecase).to eq 'content_name'
      expect('User Message:'.name_to_key_camecase).to eq 'user_message'
      expect('Device'.name_to_key_camecase).to eq 'device'
      expect('IOS Version'.name_to_key_camecase).to eq 'ios_version'
      expect('Brand'.name_to_key_camecase).to eq 'brand'
      expect('Ticket Origin'.name_to_key_camecase).to eq 'ticket_origin'
      expect('Priority'.name_to_key_camecase).to eq 'priority'
      expect('Issue Category'.name_to_key_camecase).to eq 'issue_category'
      expect('iTunes Account'.name_to_key_camecase).to eq 'i_tunes_account'
      expect('Meets Age Requirement'.name_to_key_camecase).to eq 'meets_age_requirement'
      expect('Product'.name_to_key_camecase).to eq 'product'
      expect('Diagnosis'.name_to_key_camecase).to eq 'diagnosis'
      expect('Summary'.name_to_key_camecase).to eq 'summary'
      expect('User-Agent'.name_to_key_camecase).to eq 'user_agent'
      expect('User Email'.name_to_key_camecase).to eq 'user_email'
      expect('Email Subject'.name_to_key_camecase).to eq 'email_subject'
      expect('Source'.name_to_key_camecase).to eq 'source'
      expect('TV Provider'.name_to_key_camecase).to eq 'tv_provider'
      expect('System Info'.name_to_key_camecase).to eq 'system_info'
      expect('Retention Program Candidate'.name_to_key_camecase).to eq 'retention_program_candidate'
      expect('STATUS - Suggested Solution'.name_to_key_camecase).to eq 'status_suggested_solution'
      expect('Your Message:'.name_to_key_camecase).to eq 'your_message'
    end
  end

  describe "name_to_key" do
    it "own the method" do
      expect(''.method(:name_to_key).owner).to eq HotDogPrincess::CoreExtensions::String
      expect(String.ancestors).to include(HotDogPrincess::CoreExtensions::String)
    end

    it "can convert the string name to a hash key style string" do
      expect('A_Complex_3_Name::==='.name_to_key).to eq 'a_complex_name'
      expect('Application'.name_to_key).to eq 'application'
      expect('Content Name'.name_to_key).to eq 'content_name'
      expect('User Message:'.name_to_key).to eq 'user_message'
      expect('Device'.name_to_key).to eq 'device'
      expect('IOS Version'.name_to_key).to eq 'ios_version'
      expect('Brand'.name_to_key).to eq 'brand'
      expect('Ticket Origin'.name_to_key).to eq 'ticket_origin'
      expect('Priority'.name_to_key).to eq 'priority'
      expect('Issue Category'.name_to_key).to eq 'issue_category'
      expect('iTunes Account'.name_to_key).to eq 'itunes_account'
      expect('Meets Age Requirement'.name_to_key).to eq 'meets_age_requirement'
      expect('Product'.name_to_key).to eq 'product'
      expect('Diagnosis'.name_to_key).to eq 'diagnosis'
      expect('Summary'.name_to_key).to eq 'summary'
      expect('User-Agent'.name_to_key).to eq 'user_agent'
      expect('User Email'.name_to_key).to eq 'user_email'
      expect('Email Subject'.name_to_key).to eq 'email_subject'
      expect('Source'.name_to_key).to eq 'source'
      expect('TV Provider'.name_to_key).to eq 'tv_provider'
      expect('System Info'.name_to_key).to eq 'system_info'
      expect('Retention Program Candidate'.name_to_key).to eq 'retention_program_candidate'
      expect('STATUS - Suggested Solution'.name_to_key).to eq 'status_suggested_solution'
      expect('Your Message:'.name_to_key).to eq 'your_message'
    end
  end

end

redpajama_set_name: RedPajamaGithub


text:
Теллурит кадмия — неорганическое соединение,
соль кадмия и теллуристой кислоты с формулой CdTeO,
бесцветные кристаллы,
не растворяется в воде,
образует кристаллогидраты.

Получение
 Обменная реакция растворимой соли кадмия и теллурита натрия

Физические свойства
Теллурит кадмия образует бесцветные кристаллы
моноклинной сингонии,
пространственная группа P 2/c,
параметры ячейки a = 0,7790 нм, b = 1,1253 нм, c = 0,7418 нм, β = 113,5°, Z = 8.

Не растворяется в воде.

Образует кристаллогидрат состава 3CdTeO•2HO.

Литература

кадмия


ساعت مچی مردانه مدل NF9110BY محصول برند Tonnier مجهز به بند چرمی و موتور کوارتز.
APPEARANCE: Exquisite imitation mechanical gear dial design, with a screw inlaid matte case which highlight the unique style and temperament.
MATERIAL: Plating wear-resistant alloy case, High-grade Genuine cowhide leather watch band.The watch with high-grade material to make beautiful and durable. It has a higher cost performance.
NOTE: 3ATM water resistance (not for showering and swimming).
AFTER-SALES: This is a very cute and useful gift. We are committed to providing the best products and services to our customers. If you have any questions, please contact us in time. We will try our best to make you satisfied.


You will be an innate problem solver with experience of working across multiple locations at once. You will be well versed in defining problems and providing methods to solve them. You will have really strong stakeholder management experience across multiple markets and will be familiar with a marketplace setting.
* Understand the holistic Marketing picture and how every channel has an impact on the others as well as on the overall traffic and performance of the various sites and generate insights to get the most out of our Marketing spend.
This global well-known marketplace has an exceptional culture driven by remarkable teammates that are passionate about working together for their customers. There is opportunity for European travel and challenging, varied and interesting work with a high level of personal responsibility. They offer an excellent working environment with flat hierarchies and lots of flexibility and the opportunity to shape Marketing Analytics within a global enterprise.


In keeping with this retrospective, I'd like to now examine another period of my work. The paintings here are from fall 2008 to January of 2009, but I will still occasionally use this style or integrate it with other influences--I really like the solid black bodies and the saturated jewel tones. There's still evidence of the way I worked earlier, with the pale, creepy faces and the unnatural coloring, only these were done after I discovered the joy of glazing. I can't work in any other fashion now. The bottom image has a light linseed oil glaze on the faces (it's pinkish over the blue-gray underpainting, and I was going to do more, but I liked how it looked and I stopped), and the other two have a stand oil glaze. Because stand oil is the best stuff ever (and also responsible for the shine that somewhat interferes with the photographs).
They are inspired by medieval pieces, mainly from illuminated manuscripts and the like. It probably also helped that I was taking a medieval art course and a medieval literature course at the time. The top image is Jesus from the Godescalc Gospel Lectionary (Frankish, ca. 781-783 C.E. Godescalc was the guy who made it. Note the lack of beard on Jesus--that didn't become the tradition until about the mid 1000s. The Lectionary was written in gold ink on purple parchment and is generally REALLY REALLY PIMP. This has been your art history lesson).
Top to bottom (not counting the Godescalc image): The Pardoner, The Silver Tree, and The Council. The Council was inspired by the way people who live with one another come to form a way of communicating particular to them, and the gold background is likely an influence of Byzantine art. The Pardoner, of course, comes from Chaucer's Canterbury Tales (if your haven't yet, read it. Read it now.) The pardoner is my favorite character because of how creepy he is, the way his guilt manifests itself in his mania, and the way he is convinced that he is beyond redemption and talks of his evilness in a way that is both proud and despairing. Good stuff. And those are pig bones around his neck. If you want to know why, read the book.
Currently, The Silver Tree and The Council hang in my mom's living room, and The Pardoner hangs in my bedroom. It's one of my favorite paintings and I'm quite pleased with the way I got the eyes to follow viewers around, and even though he's creepy I've developed an affection for him. My boyfriend, however, has not: "You hung it UP? Now I can't escape it!"


Take A52 for Derby, approaching City centre, follow A52 – Ashbourne through the City. At Markeaton Island, take exit for A52 Ashbourne. In approximately 1.6 miles turn left signed Radbourne/Longford (Brun Lane). Wheathills Farm is approximately 0.5 miles down on the right.
At Markeaton Island take exit for A52 Ashbourne, in approximately 1.6 miles turn left signed Radbourne/Longford (Brun Lane). Wheathills Farm is approximately 0.5 miles down on the right.
Take A50 to Derby. Take A38 Northbound for Derby. At Markeaton Island take exit for A52 Ashbourne, in approximately 1.6 miles turn left signed Radbourne/Longford (Brun Lane). Wheathills Farm is approximately 0.5 miles down on the right.


What is my home worth in Dollar Point? Real estate conditions continue to change. Check out the current over-all market conditions as of 04-30-2016 to get a better idea of the Dollar Point real estate market conditions.
The demand for mountain homes and cabins in the Dollar Point area continues to be strong because of the wonderful private neighborhood optional home owners association that offers owners in the Dollar Point subdivision access to a seasonal pool, lake-side tennis courts, a great beach area that has a private pier, and owners have access to a buoy rental program, just to name a few recreational amenities owners can enjoy in Dollar Point.
The Dollar Point neighborhood is part of the Tahoe City community, which is located the North Shore of Lake Tahoe, approximately three (3) miles east of the "Y" in downtown Tahoe City.
The Dollar Point neighborhood has nice wide streets and it is easy to get to on a year-around basis. The Dollar Point neighborhood is close to biking and hiking trails, along with being close to paved bike and walking path that will take you right into Tahoe City!
The Dollar Point area is located on the lake-side of Hwy 28, and it is close to the public beach area at the end of Bristlecone Street, which has public beaches located at the end of the road, and one side is a dog friendly beach area, so for those Tahoe home owners that want to live near a dog friendly beach area, this neighborhood gives owner their own private amenities, but is still close to dog friendly beaches.
The Dollar Point neighborhood has all of the North Lake Tahoe recreational activities that our full-time and second home owners are looking.
If you like to boat, hike, bike, golf, ski, shop, or enjoy a meal at a lakefront restaurant this area is close to both Tahoe City, Carnelian Bay and Kings Beach, which gives home owners a lot of choices. This North Shore community is one that has it all and it is why it is so popular with primary residents and second home owners.
Are you ready to find out what your Dollar Point home is worth? Just click on the link below and you will be asked to provide us with some information on your Dollar Point property and I will get you a complete home market valuation report.
Just so you know this is not an instant home value that a computer will generate based on an algorithm that has been created for a city. Technology is great, but in the Tahoe area I have found that the instant home values and market estimates are often very inaccurate and misleading.
As a Dollar Point home owner you are looking for a current market value that is reflective of real market conditions. What your home is really worth needs to be accurate, so let's do a real evaluation on your property.
Let's take the time to make sure we have the right data and information on your Dollar Point property. We know that each Dollar Point home is unique and we want to make sure your mountain home gets all of the credit and value it deserves for all of those special features before we place a current market value on it.
What are the wish-list items Tahoe Second Home Buyers are hoping to find in your Dollar Point lakefront, mountain home, cabin, or condo?
If you're thinking of selling your Dollar Point home it will be more valuable, and have more market appeal if your property has any of these updates, and/or features. Even if your property needs some work, don't worry, buyers are still going to be interested as the Dollar Point neighborhood is always in demand!
As a Dollar Point Seller did you know that more than 92%+ of home buyers will begin their property search on the internet? Now, more than ever your Tahoe mountain house needs to have the best on-line exposure, presentation, and coverage possible.
Internet marketing is far more advanced today. As a Seller if your agent is still hoping to get potential buyers to call about your home, with a limited internet profile, and poor photographs, you may be very disappointed with the results.
Serious second home buyers view an on-line listing with limited and/or incomplete information with poor, or no photos, as a being a big negative.
Second home owners don't have the luxury of being able to drive by your property and say "wow, this home looks so much better in person". A poor on-line presentation puts your property at a marketing disadvantage.
A poor first impression will hurt your efforts to get top dollar for your Tahoe home.
It is critical that your first photo have that "eye candy" for your on-line curb appeal. You want to send the right message about your property!
Each on-line viewing is your first showing! Every time your home is viewed on-line that Tahoe buyer is making that critical first impression decision on whether or not to have your Tahoe home on their short list of properties to see when they come to Lake Tahoe.
Unlike other markets, this second home market often has buyers here for only a few hours to see properties and most of already decided what home to see before they ever get here. Your on-line presence will impact a buyers "must-see" showing list, which means you need a great internet profile and presentation of your property.
To achieve the broadest world-wide Internet marketing exposure and presence, your Dollar Point property needs a combination of a fully completed TSMLS property profile, social media campaign, blogging, and video exposure.
Experienced real estate agents that understand a strong on-line marketing plan when combined with other key traditional home marketing strategies can really make a difference in getting the word out about your Dollar Point home for sale.
What is my Home Worth in Dollar Point?
Do you want to know if your Tahoe Real Estate Agent understands how Internet Marketing works? Just check out where Laura Allen with her own real estate website and how it ranks on Google Page 1 for the internet search "Dollar Point Homes for Sale.
You'll find her website on Google Page 1 in the number 4 spot! Laura's website is ranking right there with the big national mega real estate portals with their multi-million dollars advertising budgets on page one for "Dollar Point Homes for Sale".
As one of the top producing individual agents at Coldwell Banker, Laura Allen has an 82%+ sold rate for all listings taken since 2005 – 2016 (date of this post)! That means if you are serious about selling your Dollar Point property, as a top producer, we are getting the job done for our sellers!
Laura Allen, your Dollar Point Bay, California Real Estate Specialist! Check out my Dollar Point, California webpage on my website. It's loaded with local information, video, and it makes finding just homes for sale in Dollar Point, California very easy.
Dollar Point newer construction homes in Tahoe City, California.


text:
La Ceca de Montesclaros  es una ceca española que fabrica monedas conmemorativas desde 2013. Establecida en Montesclaros, provincia de Toledo, es reconocida como la primera Casa de la Moneda alternativa en España. Fabrica moneda de curso legal en los municipios que adquieren convenio con la misma, no siendo el euro su valor facial.

Al igual que en otras provincias de España es frecuente que se usen monedas alternativas, como el axarco. Este tipo de iniciativa fomenta el turismo y la numismática, afición ya prácticamente desaparecida. En Montesclaros, se usan las monedas denominadas "montes" como monedas alternativas al euro. Es posible pagar en este tipo de moneda dentro de la localidad, y cumplen con la normativa europea de fabricación de monedas y medallas cuyo facial no sea el euro, para usos alternativos.

Con ánimo de crear un innovador concepto de numismática, se han fabricado las primeras monedas de una forma bastante especial. Sin ir más lejos, la actriz María Lapiedra tiene una moneda de curso legal en el propio municipio. Para los más jóvenes o los más tradicionales, se creó una serie de monedas parecidas al euro, pero con la fauna de la zona. Gracias a ello la numismática ha resurgido del olvido y multitud de personas viajan hasta el municipio con la curiosidad de poder usar o adquirir dichas monedas.

Referencias
 Ayuntamiento otorga moneda de Montesclaros de María Lapiedra
 María Lapiedra habla de su moneda de curso legal en ABC

Casas de la Moneda en España


text:
Laurence Akers – Suranne Jones' Husband Biography, Wiki, Net Worth, Story
December 18, 2021 Huma Butt
Want to know about someone different. So, don't we are here to help you. In the present era, the most common thing in trend is free lacing. Showcasing talent on any freelancing website can help you to be recognized by the world.
Have you ever listened of any actor who works as well as performs freelancing? With every passing freelancing is getting popular and it provides opportunities to everyone to earn handsome salaries.
One such actor who proved his abilities through freelancing is Laurence Akers. Laurence Akers is a proficient free-lacing scriptwriter. Exhibition of abilities through platform helped him to make his mark without any doubts he became one of the most successful writers and directors within 2 years only. So, Let's start reading.
Who is Laurence Akers?
Early Life of Laurence Akers
The Journey of Laurence Akers
Laurence Akers Personal Life
Laurence Akers Net Worth
Name: Laurence Akers
Birth Place: America
Profession: Producer, scriptwriter
School: Rothelawe School
Education: Graduation
Profession Writer and Producer
Marriage Date: 14 August 2014
Wife: Suranne Jones
Children: 1 (son)
Residence: Muswell Hill, London
Source: thesun.co.uk
Laurence Akers is a writer and producer belonging to Britain. Laurence, from 2006 to 2016 has performed as editor, producer, and writer for several publications including Brook Land Films, Eight Magazine, Townhouse TV, Nikon Pro Magazine, and Tablet Edition.
He is currently working in collaboration with Expectation Entertainment on a series of Sky dramas. Laurence has command over writing freelance scriptwriting too.
Laurence is also a participant and member of various groups including UK Screenwriters, Wildlife photography Worldwide, and Editing Professionals.
Laurence Akers was born in America to an American Family. Laurence's ethnicity is white and he is a holder of American Nationality. The exact age of Laurence is not mentioned, however; he is in his 40s as born in the 70s.
Laurence did his graduation from Rothelawe School in 1985 America. For further choices in his career, he went to tinsel town to pursue a career.
Laurence began his professional career in 1898. He has offered many services and works to Emap. He had a great taste for music too and joined music groups like Warner Music corporation. He also succeeded in making music journalists of the United Kingdom his friends. He along with music worked on a comedies script in the year 2016.
Laurence Akers proved himself talented and made a successful career only in two years. He, in these two years, worked in writing, PR, television, and scriptwriting. In 1898, Laurence began his career and started working as a writer for Emap and covered different stories.
Laurence wrote an article for TV programs, magazines, and other party lines for the same company. In 1991, Laurence resides the company and as a music associate joined hands with ITV in March 1991. At that time, he worked for a show at ITV named "What's Up Doc". During the weekend morning show for kids, Laurence booked live music bands.
Laurence has now become a self-employed scriptwriter. Laurence has now headed towards the media industry and recently wrote, produced, and directed his short film titled Gone. He made an interesting move by starring actor, Daniel Betts with his wife Suranne Jones.
Laurence Akers, the freelance scriptwriter and magazine editor is no single. He got engaged to English actress Suranne Jones on 23 May 2014. Laurence tied knots with Suranne Jones on 14 August 2014. Their wedding was organized in a private ceremony in Islington. Suranne Jones declared that they married the previous year.
Laurence Aker's wife Suranne Jones is famous for her work in Doctor Foster, Coronation Street, and Scott and Bailey. The actress also won several awards such as National Television Award for Most Popular Actress, British Soap Award for Best Actress National Television.
Learning about the dating history of Laurence Akers and Suranne Jones, the first meeting of the couple was in 2013. Laurence met Suranne at the wedding of Suranne's close friend Sally Lindsay with Steve Whites.
Laurence Akers welcomed his first child (son) with Suranne Jones just after two years of wedding. Suranne like his husband is very passionate about her work as at the pregnancy, Suranne completed the shooting of the 5th season of Scott and Bailey.
Laurence and his wife are living a cheerful life in Muswell Hill, London without any news of separation. They both make a beautiful couple.
Laurence has earned a handsome salary from his successful career as a writer. He is still active in the industry so it is assumed that his net worth will be more than the estimated future value. She has collected a huge net worth of $5 million.
As far as Laurence Akers's net worth is concerned he hasn't revealed his salary details. However, the speculated salary of a magazine editor is $15.27 per hour and earns almost 49,609 each year.
I hope you will find this writing interesting. The biography is proving that if you have skills and talents you just need a platform to start with. Reading this article, you will find new ways how to make a start. Don't be afraid of failure or being rejected just begin with a positive attitude
Next Read: The untold story of Sheldon Bream – Shannon Bream's Husband
Huma Butt
Huma Butt is a professional SEO-Based content writer. She has been involved in this field since 2018 and thus has more than three years of experience. She is currently working as a freelancer and is available on various platforms.
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