He went right down! He was still trying to move so I yelled at Mark to put another shot in him. I looked and saw that he had his riffle pointed in the direction of the meadow, then BOOM! The elk came in looking for the herd bull and gave Mark a perfect broad-side shot. I would call a few times then move so that I sounded more like a group of cows. I dropped back about 50 yards or so and started cow calling. Mark dropped his pack and sat up against an aspen so that he had a clear view of the meadow that we anticipated he have to cross. The old bull bugled immediately and then another bull bugled from our left that sounded even closer. We hiked about a mile until we thought we were as close as we could get without spooking them and I started cow calling. Now we were on the same ridge as the big heard bull and down wind, things were looking promising. It took us over an hour to go down and back up. When I say steep I mean REALLY steep and snow covered. So, we climbed to the top of the next ridge only to realize we had one more drainage and a steep ridge to climb. By this time it was 12:15 so we sat down and had some MREs for lunch.Īfter lunch we decided to follow the herd we had heard the bull bugle a few more times on the next ridge over. He had one of the smaller bulls in his sights, a 3x4, and decided to pass, but before he could check out the others they started moving again. ![]() I had no way of communicating with Mark because he was 100 yards away but I could see he had his gun up. It was hard to pick out a single elk in all the movement but I could see two smaller bulls and one that looked to be a 5x5. Then, suddenly we saw several bulls and cows running along the hill side. I decide to sneak to Mark’s left and get as close as I could to call so that maybe the old bull would think I was sneaking around to take his cows and give Mark a shot. ![]() We just couldn’t get the bull to come out of the cover and show himself. I thought for sure Mark was going to get a shot. The bull was on the other ridge behind the trees and we couldn’t see him but we saw dozens of cows as they moved along the hill side. Mark belly crawled across the opening and got as close as he could to the other side, about 230 yards. I started calling and he really got fired up. We set up the spotting scope to glass the hillside and heard another bugle only 300 yards or so away. We could see a cow elk lying in the snow on the hillside. We climbed back up the other side to see if we could circle around a glass the southern slope where we thought the elk were bedded when we heard a bugle behind us. There was still snow on the northern facing slopes and we could clearly make out some sizable bear tracks. We were awake now and decided to head out so we hiked down into a drainage past a water hole. I awoke to the sound of something walking through the leaves and when I looked up there were two coyotes standing about 15 yards away looking straight at me! I called to Mark until he woke up and he was able to see them as they went back down over the side. Neither of us slept well the night before so minutes after we sat down under some aspens we were asleep. It was about 10:00 so we stopped for a water break and had a snack. I tried calling to him for a while he responded several times but no luck he wouldn’t come in. It took us about an hour and a half to get back up to 9,800 feet. It was 700 hundred feet to the bottom of the ridge we were on so we climbed down, crossed a creek then climbed back up to where we thought he was. ![]() Now, we just had to figure out how to get to him. I tried bugling to him and he responded along with several others throughout the basin. Mark raised his binos and said “bingo” the first place he looked there were several cows and a nice 6圆 bull a little over a mile away. At 10,200 feet we could see the entire basin so we decided to do some glassing. What a hunt! We parked the truck and hiked over a ridge at 6:45 am.
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“The verse may be the most ambitious I’ve ever seen. It’s this very same verse that composer Alec Wilder, in his book American Popular Song, The Great Innovators 1900-1950, praises. I played it at one or two Westport get-togethers and found the listeners retreating to the bar in the middle of the verse.” Again from his autobiography he discusses the “premier” of the tune: “Both the long ‘conversational’ verse and the constantly modulating refrain contained not a particle of what the Harms (publishing company) moguls called ‘popular appeal’ the song was a genuine emotional outburst and, possibly, this genuineness accounted for its subsequent standard status. In his autobiography Passport to Paris Duke described the show as “a decent, average revue received decent, average notices.”ĭuke wrote “ Autumn in New York” while vacationing in Westport, Connecticut. Harold Murray, and the finale, “ Autumn in New York.” Only the latter remained in the show which opened on December 27, 1934, and closed five months later. ![]() Thirteen years later it rose to number 27 on the pop charts thanks to a fine vocal version by Frank Sinatra.Ĭhart information used by permission from Joel Whitburn's Pop Memories 1890-1954Ĭomposer Vernon Duke wrote three pieces for Thumbs Up!: a dance number for Hal Le Roy to tap to, a tango for J. ![]() Vernon Duke’s composition was written for the 1934 show Thumbs Up! and introduced by J. the song was a genuine emotional outburst and, possibly, this genuineness accounted for its subsequent standard status.” It is not linked to any particular network connection. Keeping the information about the user, open mailboxes, and other session-related data, but The virtual session is an internal server data structure To provide the session-type functionality, the WebUser module implements a so-calledĪpplication server: when a user is authenticated via the "login page", a Sends one or several page requests, receives the requested data, and closes the connection. The HTTP protocol is not a session-oriented one: a Web browser establishes a connection, The data (mailboxes, settings, etc.) in the user account, and then closes the connection. Some protocols (such as IMAP and POP) are session-oriented protocols: a client applicationĮstablishes a connection with a server, provides the data needed to authenticate the user, processes If a userĬlicks that link, the Domain Certificate can be installed as a trusted Certificate in the userīrowser. If the Domain has a custom Security Certificate, a Certificate link is displayed. If the Domain has the Auto-Signup option enabled, a link to the Auto Sign-up page If a Domain has some mailing lists, its Login page contain a link to the Mailing List archive pages. The name is entered in the username field, the Account username will be opened in theĬ Domain (if the correct password is provided). If the Login page of the Main Domain is displayed ( ) and Users can open any Account in any Domain from any Login page, if they specify the complete Account name: If no Domain is found, the Main Domain Login page is displayed. To which the specified address is dedicated. If a URL specifies an IP address instead of a domain name, the WebUser module tries to find a CommuniGate Pro Domain Route this domain name to one of the existing CommuniGate Pro Domain. You should either create a secondary Domain with that name, or That points to your Server (otherwise the Server would not get this request), but that name is not routed This usually indicates an error in your Server setup: the specified domain name has a DNS A-record If the URL specifies a domain name that is not routed to any CommuniGate Pro Domains, an error page ![]() The WebMail section for more detailed user-level information.Īnd it will retrieve the Login page, too. This sections describes the WebUser Interface from the administrator point of view. Specify Mailbox Aliases, RPOP (External POP) accounts, Account The features many IMAP clients do not support yet. Interface can be used to specify Subscriptions and Access Control Lists for Account Mailboxes. Used to access the features unavailable in some mailers. The WebUser component works via the HTTP module andĪllows users to read and compose messages and to perform Account and Mailbox managementĮven if a user prefers a regular POP or IMAP mail client, the WebUser Interface can be ![]() The CommuniGate Pro Server provides Web (HTTP/HTML) access to userĪccounts. For this last reason it is to film to fuel public discussion. This is a film to make you evaluate your place in society, a film to discomfort you into sensitivity, a film devoid of the relief of humour, a film that – like the history of injustice – seems too big to process in a single brain. Answers may be thin on the ground for a metropolitan liberal (hi) but that is because this film is an SOS at a point in world history that is not as advanced as many of us would like to think. And yet there is something primal and powerful that transcends the sum of its parts and speaks clearly of a wrong burrowed deep in our social DNA. The footage is an incidental patchwork and the ideas about violence too extreme for this reviewer to adopt. Although the film focuses on specific struggles, especially the Algerian war for independence, its philosophical approach is broad, aggressive and personal: “The cause is the consequence. There is no way to absent yourself from the scope of the film’s comment. There is no way to evade the militancy of the message. Fanon’s text and Olsson’s archival footage focus on black struggles but an introduction by Columbia professor, Gayatri Chakravorty Spivak, encourages women to make an imaginative leap and apply the philosophy to sexual equality.įanon’s precise academic language is read by the richly cadenced voice of former-Fugee Lauryn Hill and also flows intuitively in large print across screen for extra oomph. The book’s anti-colonialist thesis explores the idea that violence is the only way for oppressed people to take back control. The psychiatrist, philosopher, revolutionary and writer died in the same year that The Wretched of the Earth was published. Looping over it all is a narrative plundered from a text by Frantz Fanon – a serious thinker and multi-professioned African-born Frenchman. The black Goncourts and the yellow Nobels are finished the days of colonized laureates are over. The most crucial, most timely thing that Concerning Violence does is force you to stare at racism in a way that is shocking if you are used to enjoying the privilege of an intellectual buffer zone between global issues and one’s own small orbit.īut what is it in practical terms? Concerning Violence is an essay film composed of nine examples of uprisings in Africa shot by guerilla Swedish filmmakers in the ’60s and ’70s. Fanon has nothing in for you at all his work-red-hot for some-in what concerns you is as cold as ice he speaks of you often, never to you. The legacy of colonisation is still being fought amid fire and activism and violence. Are we white reviewers to gripe about storytelling complexities? Are we to neuter the core issue with dispassionate objectivity? Director Göran Olsson’s film is, most starkly, a controlled rage at racist oppression. Concerning Violence has been released in the UK during the week that a white policeman was acquitted for shooting dead an unarmed black teenager in Ferguson, Missouri. ![]() It’s not often that film reviewing is an overt political act. ![]() A timely and powerful exploration into the history of uprising in Africa as seen through the eyes of white liberals. You might have a fast barrel that can go higher than 2500 safely, but it would be the exception not the norm. I am not saying this model is exactly what you will get, but I would not be aiming for 2600+ thinking it was safe. If not familiar with GRT, it is similar to quickload. Here is a Gordons reloading tool max load of Acccurate 2520 at max load from a 18" barrel, and it gives a similar velocity to the video you linked above (2743 fps). 223 makes me cringe.Ģ600+ is not a realistic number from a 12.5" barrel. I sometimes shoot lost brass matches and using Lapua. What is the best, least expensive, available brass currently? I have seen a lot of comparisons across Remington, Winchester, Lapua, Lake City and Federal, but not a lot of info on PPU nor Starline. PPU, Starline - I can get both of these, and maybe some Winchester. Should all the above powders give me great accurate results & higher velocity (looking for in the ballpark of 2700 fps or greater) with the heavy bullets?Īdditionally I can't find a good solid lead on brass, and would like to use a decent brass I can find: Hodgdon Benchmark powder, Alliant AR-Comp, Alliant 2520 & Hodgdon H335 So, my questions:ĭo you all (Snipers Hide guys) find this to be realistic? This guys videos on testing trying to clone Black Hills MK 262 are pretty interesting - he does a LOT of testing of various powders.īoth of these guys have good stuff to say. I have been doing a lot of investigating: I plan to shoot 77 SMK's because I have a lot of them - alternatively I would consider Hornady 73gr ELD-M if I could find them - but as of now I can't so moving on. However I have been looking to try to figure out a load for (2) rifles:ġ2.5" SBR with small suppressor (mid length gas) Ok, I know its really not the time to look for powders. ![]() However, that doesn't mean that the iPhone 12 is no longer a worthy purchase, as Apple's A14 Bionic chip still provides smooth performance by today's standards. The Apple iPhone 12 isn't the latest model the popular smartphone - it's the Apple iPhone 14, and very soon, it will be the Apple iPhone 15. We're not sure how much time you've got left to take advantage of this offer though - it could disappear at any moment - so if you're interested, you shouldn't hold yourself back from pushing through with the purchase. For example, the 64GB model of the unlocked Apple iPhone 12 remains available for $555 from Best Buy, for a discount of $75 on its sticker price of $630. If you were planning to buy an iPhone from this year's Labor Day sales but you missed them for any reason, don't worry because some iPhone deals are still online. You can use code 15DIGITALT for a limited time (expires October 7th) to get 15% off a new iPhone 15 SUPCASE. This beast of a case will protect your shiny new phone at all costs. Did we mention the SUPECASE even provides drop protection up to 20 feet? Rugged and durable isn’t even half of it, thanks to a MIL-STD-810G rating. You’ll need a more thoughtful way to stow it and keep your hands free. That’s a good thing, considering the iPhone 15 Pro Max features a large 6.7-inch display and is too bulky to cram into a pocket. The rotatable belt clip, which is also detachable, allows you to clip the device onto whatever you’re carrying, like a pack or a belt loop. It’s ultra-rugged, with a built-in screen protector and kickstand, which adds some practicality – you can stand it up in portrait and landscape viewing modes. That probably isn’t the best way to describe the SUPCASE Unicorn Beetle Pro iPhone 15 Pro Max case, but there’s certainly a lot to love here. A unicorn is a fantastical creature with a lot to love. ![]() Playing Holochess (Photo: JK Schmidt of ComicBook) The nooks in the walls are also home to some makeshift nests, evidence of a previous Porg infestation. The infamous Dejarik table sits in the corner, providing a cool photo opportunity as you wait. Then guests are treated to one of the coolest waiting areas in any ride at a Disney Park, which is the recreational area of the Millennium Falcon. With two of each role, everyone has to work together to ensure the success of the mission. In this space you and the other guests are put in groups of six, and each of you is randomly assigned a card that gives you your role: gunner, engineer, or pilot. This is where you actually board the Falcon, and the hallways begin to look like the iconic circular corridors engrained in every Star Wars fan's brain. ![]() The two bicker for a few minutes before Hondo ushers you into a waiting area. He addresses the riders and explains that he needs skilled crew members for a dangerous mission to Corellia before he's interrupted by Chewbacca on a screen. You're then led into a briefing area where an impressive animatronic of Hondo himself stands on a platform above, alongside his own trusty astromech droid known as R5. prev nextīoarding the Falcon (Photo: JK Schmidt of ComicBook) The level of detail is immaculate, and it makes you want to hop out and check to make sure Chewbacca made all the right repairs on the bucket of bolts. (Photo: JK Schmidt of ComicBook)įrom the sprawling line in the maintenance area, guests are then taken to a short line before the boarding area that overlooks the Millennium Falcon and the port of Black Spire Outpost, giving fans another look at the ship as it towers over the visitors outside. The two area also two-thirds of the triplets in Duck Tales. One of the workers is voiced by Ben Schwartz and another is voiced by Bobby Moynihan, comedic actors known for their roles in Parks & Recreation and Saturday Night Live respectively. Over the intercom, guests are treated to the humorous bickering of maintenance workers and Hondo Ohnaka, the very same smarmy pirate made famous from appearances in Star Wars: The Clone Wars and Star Wars Rebels animated series, the role reprised by legendary voice actor Jim Cummings. ![]() The Maintenance Zone (Photo: JK Schmidt of ComicBook) ![]() While that one has the sleek sheen and polish of busy airport, Smuggler's Run instead takes you inside the grimy and dirty repair areas that are required to keep these freighters in peak condition. This is where the fun begins, as it's a more detailed experience than what you'd find at the Star Tours ride across the park. (Photo: JK Schmidt of ComicBook)įrom there guests enter a maintenance shaft that leads to a repair area. The Corellian freighter itself is parked outside the entrance to the ride a full-scale replica meant to deliver a sense of awe, seeing it up close and personal as you head toward the cockpit. Millennium Falcon: Smuggler's Run is an immersive experience from the moment you get in line. It's an interactive experience that allows the guests to have a direct impact on the outcome of the attraction, with a thin line separating success and failure. The new ride at Disneyland's Star Wars: Galaxy's Edge park puts fans right in the middle of the saga they grew up with. For the first time ever, Star Wars fans are able to board the Millennium Falcon and embark on dangerous mission that could tip the scales in the battle between light and dark. ![]() Their songs are uncoverable - who can pull off Richard Manuel's incredible high voice? - but we tried. ![]() In his writing, Dylan was getting away from those heavy, metaphorical songs on Blonde on Blonde and writing cool little tunes. The Band let Dylan branch out stylistically. Their work as the Hawks on Bob Dylan's 1966 tour is some of the best rock & roll ever made, with Robbie Robertson playing just amazing guitar. Each member brought something, because they were all consummate musicians. You couldn't categorize the Band's sound, but it was so organic - a little bit country, a little bit roots, a little bit mountain, a little bit rock - and their vocal styles and harmonies totally set them apart. I remember when Music From Big Pink came out, in 1968. But the Band did a little bit of everything. When I first tried to get record deals, nobody knew how to market me, because my sound didn't necessarily fit into any stereotypes. I've used the Band as an example for my career. As you read this book, remember: This is what we have to live up to. But at its best, it is still the sound of forward motion. In these fan testimonials, indie rockers pay tribute to world-beating rappers (Vampire Weekend’s Ezra Koenig on Jay-Z), young pop stars honor stylistic godmothers (Britney Spears on Madonna) and Billy Joel admits that Elton John “kicks my ass on piano.” Rock & roll is now a music with a rich past. ![]() The essays on these top 100 artists are by their peers: singers, producers and musicians. The resulting list of 100 artists, published in two issues of Rolling Stone in 20, and updated in 2011, is a broad survey of rock history, spanning Sixties heroes (the Beatles) and modern insurgents (Eminem), and touching on early pioneers (Chuck Berry) and the bluesmen who made it all possible (Howlin’ Wolf). In the narrative of the podcast, this occurs at the end of the second episode subsequent episodes deal with the fallout from McLemore's death while exploring more of McLemore's life & character.In 2004 - 50 years after Elvis Presley walked into Sun Studios and cut “That’s All Right” - Rolling Stone celebrated rock & roll’s first half-century in grand style, assembling a panel of 55 top musicians, writers and industry executives (everyone from Keith Richards to ?uestlove of the Roots) and asking them to pick the most influential artists of the rock & roll era. McLemore killed himself by drinking potassium cyanide on Jwhile the podcast was still in production. He recorded conversations with McLemore & other people in Woodstock. Reed investigated the crime & eventually found that no such murder took place, though he struck up a friendship with the depressed but colorful character of McLemore. After a year of exchanging emails & several months of conversation with McLemore, producer Brian Reed traveled to Woodstock to investigate. McLemore sent an email to the staff of the show 'This American Life' asking them to investigate an alleged murder in his hometown of Woodstock, Alabama, a place McLemore claimed to despise. Matt also comments specifically on the lyrics: "I decided that the lyrics would shadow McLemore's life." In 2012, antiquarian horologist John B. Watching the initial trailers for the game & looking at production sketches reminded him of the 'S-Town' podcast & its main protagonist, John B. Matt Shadows their lead singer says the song was written as per request from the developers of Call of Duty: Black Ops 4. You know you got it, child, if it makes you feel good Have another little piece of my heart now, baby, hey I need you to come on, come on, come on, come on and take itīreak another little bit of my heart, now darling, yeah, c'mon now (whoa, have a)īreak another little bit of my heart, now darling, yeah, yeah, yeah, yeah (whoa, have a) Well, you know you got it, child, if it makes you feel good Take another little piece of my heart now, babyīreak another little bit of my heart now, darling, yeah I said come on, come on, come on, come on and take it Never, never, never, never, never, never hear me when I cry at nightīut each time I tell myself that I, well I can't stand the painīut when you hold me in your arms, I'll sing it once again You know you got it if it makes you feel goodĪnd baby, deep down in your heart, I guess you know that it ain't right Have another little piece of my heart now, baby Take another little piece of my heart now, baby (whoa, break it)īreak another little bit of my heart now, darling, yeah, yeah, yeah (whoa, have a) I want you to come on, come on, come on, come on and take it Didn't I make you feel like you were the only man? YeahĪnd didn't I give you nearly everything that a woman possibly can?Īnd each time I tell myself that I, well I think I've had enoughīut I'm gonna show you, baby, that a woman can be tough Reciprocating piston type steam engines were the dominant source of power until the early 20th century. Steam engines replaced sails for ships on paddle steamers, and steam locomotives operated on the railways. By the 19th century, stationary steam engines powered the factories of the Industrial Revolution. James Watt made a critical improvement in 1764, by removing spent steam to a separate vessel for condensation, greatly improving the amount of work obtained per unit of fuel consumed. ![]() The first commercially successful engine that could transmit continuous power to a machine was developed in 1712 by Thomas Newcomen. ![]() Thomas Savery is considered the inventor of the first commercially used steam powered device, a steam pump that used steam pressure operating directly on the water. In 1606 Jerónimo de Ayanz y Beaumont patented his invention of the first steam-powered water pump for draining mines. In general usage, the term steam engine can refer to either complete steam plants (including boilers etc.), such as railway steam locomotives and portable engines, or may refer to the piston or turbine machinery alone, as in the beam engine and stationary steam engine.Īlthough steam-driven devices were known as early as the aeolipile, Ball of Aeolus, in the first century AD, with a few other uses recorded in the 16th century. The ideal thermodynamic cycle used to analyze this process is called the Rankine cycle. Steam engines are external combustion engines, where the working fluid is separated from the combustion products. The term "steam engine" is generally applied only to reciprocating engines as just described, not to the steam turbine. This pushing force can be transformed, by a connecting rod and crank, into rotational force for work. The steam engine uses the force produced by steam pressure to push a piston back and forth inside a cylinder. A steam ploughing engine by KemnaĪ steam engine is a heat engine that performs mechanical work using steam as its working fluid. This class of engine was built in 1942–1950 and operated until 1988. ![]() A model of a beam engine featuring James Watt's parallel linkage for double action A mill engine from Stott Park Bobbin Mill, Cumbria, England A steam locomotive from East Germany. Examples of cards in Near Mint condition that show minimal wear but are still considered to be Near Mint condition. Please remember it can take some time for your bank or credit card company to process and post the refund too. If approved, you’ll be automatically refunded on your original payment method. We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item. Unfortunately, we cannot accept returns on sale items or gift cards. Please get in touch if you have questions or concerns about your specific item. We also do not accept returns for hazardous materials, flammable liquids, or gases. Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.Ĭertain types of items cannot be returned, like perishable goods (such as food, flowers, or plants), custom products (such as special orders or personalized items), and personal care goods (such as beauty products). You can always contact us for any return question at and issues Items sent back to us without first requesting a return will not be accepted. To start a return, you can contact us at If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. You’ll also need the receipt or proof of purchase. ![]() To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. Totem armor won't do anything because it won't have to.We have a 7-day return policy, which means you have 7 days after receiving your item to request a return. If a permanent enchanted with an Aura that has totem armor has indestructible, lethal damage and effects that try to destroy it simply have no effect. Totem armor has no effect if the enchanted permanent is put into a graveyard for any other reason, such as if it's sacrificed, if the "legend rule" applies to it, or if its toughness is 0 or less. On the other hand, if a spell or ability deals lethal damage to a creature enchanted with an Aura that has totem armor, the game rules regarding lethal damage cause the Aura to be destroyed, not that spell or ability. Totem armor doesn't destroy the Aura rather, it changes the effects of the spell or ability. If a spell or ability says that it would "destroy" a permanent enchanted with an Aura that has totem armor, that spell or ability is what causes the Aura to be destroyed instead. Effects that say the enchanted permanent can't be regenerated (as Putrefy does) won't prevent totem armor's effect from being applied. Specifically, if totem armor's effect is applied, the enchanted permanent does not become tapped and is not removed from combat as a result. Totem armor's effect is not regeneration. Instead, the spell or ability will destroy the Aura in two different ways at the same time, but the result is the same as destroying it once. If a spell or ability (such as Akroma's Vengeance) would destroy both an Aura with totem armor and the permanent it's enchanting at the same time, totem armor's effect will save the enchanted permanent from being destroyed. If a permanent enchanted with an Aura that has totem armor would be destroyed by multiple state-based actions at the same time (most likely because a creature with deathtouch has dealt damage to that creature greater than or equal to its toughness) totem armor's effect will replace all of them and save the creature. You choose which one because you control the enchanted permanent. If a permanent you control is enchanted with multiple Auras that have totem armor, and the enchanted permanent would be destroyed, one of those Auras is destroyed instead - but only one of them. In either case, all damage is removed from the permanent and the Aura is destroyed instead. Totem armor's effect is applied no matter why the enchanted permanent would be destroyed: because it's been dealt lethal damage, or because it's being affected by an effect that says to "destroy" it (such as Putrefy). ![]() If the enchanted permanent would be destroyed, you must remove all damage from it (if it has any) and destroy the Aura that has totem armor instead. When the enchanted creature attacks, all lands controlled by that creature's controller (who is not necessarily the Aura's controller) untap. |
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