#Best Selling Products in Europe

[europeanshops]

One of the Best Selling Products in Europe | My European Shop

However, some product categories tend to perform well consistently in Europe. These include: Electronics: Products such as smartphones, laptops, tablets, and gaming consoles are often in high demand. Fashion and Apparel: Clothing, shoes, and accessories from both local and international brands are popular across Europe. Beauty and Cosmetics: Skincare products, makeup, and fragrances are sought after by European consumers. Home Appliances: Items like kitchen appliances, vacuum cleaners, and washing machines are commonly purchased. Automotive: Cars, car parts, and accessories have a significant market in Europe. Food and Beverages: Locally produced food items, wines, and specialty products from various European countries are popular. Home Furnishings: Furniture, decorations, and home improvement products are consistently in demand. It's important to note that the popularity of specific products can vary by country and region within Europe. For the most accurate and up-to-date information on the best-selling products, I recommend consulting market research reports, industry publications, or conducting online research from reputable sources.

[topmartbazaar]

Versatile Coffee Machine for Home Use

HiBREW 5 in 1 Multiple Capsule Coffee Machine Hot/Cold DG Cappuccino Nes Small Capsule ESE Pod Ground Coffee Cafeteria 20Bar H2B

[reasonsforhope]

"Businesses like to talk about the concept of a closed loop or circular economy, but often they’re trying to close small loops. Releaf Paper takes dead leaves from city trees and turns them into paper for bags, office supplies, and more—which is to say they are striving to close one heck of a big loop.

How big? Six billion trees are cut down every year for paper products according to the WWF, producing everything from toilet paper to Amazon boxes to the latest best-selling novels. Meanwhile, the average city produces 8,000 metric tons of leaves every year which clog gutters and sewers, and have to be collected, composted, burned, or dumped in landfills.

In other words, huge supply and huge demand, but Releaf Paper is making cracking progress. They already produce 3 million paper carrier bags per year from 5,000 metric tons of leaves from their headquarters in Paris.

Joining forces with landscapers in sites across Europe, thousands of tonnes of leaves arrive at their facility where a low-water, zero-sulfur/chlorine production process sees the company create paper with much smaller water and carbon footprints...

“In a city, it’s a green waste that should be collected. Really, it’s a good solution because we are keeping the balance—we get fiber for making paper and return lignin as a semi-fertilizer for the cities to fertilize the gardens or the trees. So it’s like a win-win model,” [Valentyn] Frechka, co-founder and CTO of Releaf Paper, told Euronews.

Releaf is already selling products to LVMH, BNP Paribas, Logitech, Samsung, and various other big companies. In the coming years, Frechka and Sobolenka also plan to further increase their production capacity by opening more plants in other countries. If the process is cost-efficient, there’s no reason there shouldn’t be a paper mill of this kind in every city.

“We want to expand this idea all around the world. At the end, our vision is that the technology of making paper from fallen leaves should be accessible on all continents,” Sobolenka notes, according to ZME Science."

-via Good News Network, August 15, 2024

[probablyasocialecologist]

Saito has made a career of teasing out an eco-theory from the late, unpublished writings of Karl Marx. He earned his doctorate at Humboldt University, in Berlin, and now teaches philosophy at the University of Tokyo. His first book was an English version of his dissertation, titled “Karl Marx’s Ecosocialism” (2017), which tracked Marx’s study of the physical world and communal agricultural practices. (Saito is fluent in Japanese, German, and English.) In a second academic book, “Marx in the Anthropocene” (2022), Saito drew on an expanded repertoire of Marx’s unpublished notebooks to argue for a theory of “degrowth communism.” He gained a following, not only in philosophical circles but among a Japanese public facing the contradictions of tsunamis, billionaires, and same-day shipping. “Slow Down” has sold more than half a million copies in Japan and launched Saito into a rare academic celebrity. He appears regularly on Japanese television and aspires to the public-intellectual status of Thomas Piketty, the French economist who had a surprise hit in his 2013 doorstop, “Capital in the Twenty-first Century.”

The key insight, or provocation, of “Slow Down” is to give the lie to we-can-have-it-all green capitalism. Saito highlights the Netherlands Fallacy, named for that country’s illusory attainment of both high living standards and low levels of pollution—a reality achieved by displacing externalities. It’s foolish to believe that “the Global North has solved its environmental problems simply through technological advancements and economic growth,” Saito writes. What the North actually did was off-load the “negative by-products of economic development—resource extraction, waste disposal, and the like” onto the Global South.

If we’re serious about surviving our planetary crisis, Saito argues, then we must abandon capitalism, with its insatiable appetites. We must reject the ever-upward logic of gross domestic product, or G.D.P. (a combination of government spending, imports and exports, investments, and personal consumption). We will not be saved by a “green” economy of electric cars or geo-engineered skies. Slowing down—to a carbon footprint on the level of Europe and the U.S. in the nineteen-seventies—would mean less work and less clutter, he writes. Our kids may not make it, otherwise.

[surra-de-bunda]

Mariah Carey & Keisha Epps of Total with Wanya Morris of Boys II Men photographed by Kevin Mazur during Camp Mariah & Mariah Carey's Platinum Party for 'Daydream' (July 1996). 'Daydream' is the fifth studio album by  Mariah Carey, released on September 26, 1995, by Columbia Records. 'Daydream' received critical acclaim, with reviewers praising the album's production, its sonic quality, and Carey's musical progression. It became Carey's best reviewed album up to that point and garnered six nominations at the 38th Grammy Awards, including for Album of the Year. It was later included on the List of 200 Definitive Albums in the Rock and Roll Hall of Fame. 'Daydream' became a global success, topping the charts in nine countries, and reaching the top five in almost every major music market. It was Carey's second album to be certified Diamond by the RIAA. As of 2019, 'Daydream' has sold over 20 million copies worldwide and is one of the best-selling albums of all time. Six singles were released from the album. Its lead single "Fantasy" became the first single by a female artist to debut at number one on the US Billboard Hot 100 and went on to top the chart for eight weeks, and became the second best-selling single of 1995 in the country. The second single "One Sweet Day" topped the Billboard Hot 100 for sixteen weeks and became the longest-running number-one single in Billboard's history, holding the record for 23 years. The album's next single "Always Be My Baby" reached number one as well. Jointly, the singles from Daydream spent a combined six months at the top of the Hot 100. To promote the album, Carey embarked on the short but successful, Daydream World Tour, visiting Japan and Europe.

[thefloatingstone]

Also someone asked "what's wrong with Nu Metal?" and the best I can explain it is;

Nickleback is Nu Metal.

But in a better explination; Nu Metal is super commercialised which also affects both the way it sounds and its visuals. It's the most"Mainstream" of any metal genre.

Another aspect... and this is not an insult, this is just the way it is.... is that Nu Metal is largely American. Why does this matter? Well, because in Europe, because all the countries and subgenres are rubbing elbows with each other all the time, there is an inherent push and flow, with bands influencing each other stylisticly while also pushing for higher quality and a greater uniqueness in if not sound then identity to make a mark on the metal landscape.

But in America, there just are not as many metal bands in "the mainstream" that compete with the big hitters. Not te mention toe lack of influence and give and take between bands and genres means there is little to no need to push for greater quality or individuality.

Why improve if you already think you're the best?

This is also why American metal is considered very "mid" by fans who listen to the European artists, even if there are certain American artists they will acknowledge as a favourite.

There is also the fact that many bands falling under "Nu Metal" reject the label as being part of metal in general, which comes across as insulting.

So it's a combination of factors;

1: Overly mainstream and commercialised

2: overall lack of quality

3: severely dumbed down to appeal to a wider audience as a product to be sold.

4: general disrespect by "Nu Metal" artists who respond to criticism of selling out as Nu Metal by saying "well we were never metal anyway so fuck you"

Wikipedia has a whole subsection on why Nu Metal is widely criticised by both metal fans, bands, and the general music landscape

Is it perhaps hated to a hyperbolic level? Maybe. One can't deny the impact it has had on the history of the music scene as a whole. But as far as being a fan of the genre goes...

It's like saying your favourite genre of movie is "Marvel".

[soyouareandrewdobson]

Asians are all the same, right? The racism of a company cock gurgling moron

Like herpes and unlike the Dobbear, I am back baby.

At this point, deepest apology for my long absence. Personal issues over the last two years prevented me from writing anything and also destroyed for the longest time any desire to really continue the blog.

However, I don’t want to let things unfinished and seeing how the hypocricyofandrewdobson still manages to get some rise out of old Dobson related stuff, I wanted to just return, in order to properly contribute a bit more critical thinking in regard to his old comics.

And while I will not immediately return to my retrospective of SYAC, here is at least (for a start) my opinion on one comic of his, that in my opinion just proved hilarious and controversial in hindsight, and rather racist even back then.

I admit, I don’t know anymore what the title of the comic here is. All I know is, that it came out around 2018, shortly after the release of his “Black Panther” comic, another malignant piece of Dobtrash that has made the rounds online ever since. However, unlike the Black Panther comic, which became the center of a lot of discussion regarding Dobson’s racist assumptions about comic book fans while ironically trying to present himself as woke, this one was weirdly drifting off into obscurity. Which is kinda weird, cause in my opinion, it is way more racist and actually kinda insulting to the very craft Dobson supposedly “dedicated” his life to.

Let me explain.

First, over the course of three panels, Dobson comes essentially off like he is considering the medium of comics as inferior to the medium of movies. Making it look as if comics are unsuccessful because they cannot rail in the same amount of money than certain flics and calling them at best nothing more but a pitching ground for corporations to create new shallow mass product.

Now I am a bit of a realist and I know that, especially in the world of mainstream American superhero comics, this is kinda the case. Most comic book characters, stories and franchises are owned by multibillion dollar corporations, who either have a direct hand in the creation of the product (via corporate mandate for example) and/or use the likeness of the product to make profit in additional, more valuable revenues than the printed medium. Such as cartoons, merchandise and movies. One example I can think of, to show that it isn’t just an American issue: Yugioh. The card game wouldn’t have come to be if there hadn’t been a manga starring a little boy putting together an ancient Egyptian puzzle, but while the original manga ended way back in March of 2004, the card game makes millions globally still after 25 years and counting.

But that doesn’t change the fact, that comics as a medium still have value. Without the stories told within their pages, we wouldn’t have characters such as Captain America, Superman, the Mask, the Ninja Turtles and so on to begin with. Don’t get me even started on stories that aren’t falling into the American mainstream comic trend, but still succeeded in the printed comic medium partly because of genuine artistic and profound value such as Maus, Barefoot Gen, Watchmen, V for Vendetta, TinTin and a shitton of (other) stuff from Europe and Asia.

So when Dobson, who always acted like he is proud to be a cartoonist and that comics are a superior medium to others, suddenly reduces them to just being a “pitch ground for better stuff down the line” at best, I as a fan of the medium and just the art of creating stories in itself, get kinda pissed.

Additionally, the way how he compares movies to be better than comics, is severely flawed.

He brings up the fact, that “Captain America: Civil War” made over one billion dollars at the box office as an example, while pointing out the fact, that most single comic issues barely manage to sell 100.000 copies, while holding up a copypasted “Civil War” issue.

Already, Dobson essentially compares apples with bananas, while also giving both false and incomparable data, that also ignores many aspects to be considered.

For starters: He compares the earnings of both movies and comics with two different values. For movies, he goes by the monetary profit a superhero movie could possibly make, while for the comic issue, he goes by the total number of copies sold.

But here is the thing: Assuming the average selling price of a comic is at 4 dollars for a single 30 page issue, selling 100.000 copies would ring in like 400.000 dollars. And considering that producing one issue likely costs a company less than 20.000 dollars (obvious costs for mass production and distribution not withstanding) they can still make a decent profit this way from ONE issue alone. One issue. Not multiple issues of a long running, but sadly underperforming series. All of that by the way doesn’t even account for the fact, that most single issues at best tell only a quarter of a decent short story nowadays and ignores later “long term” factors, such as reprints of the issue, late term buying of the issue, tradepaperback sells of the issue, the longterm effect and cultural impact the issue may have on the actual series or plot continuity  (such as Amazing Spiderman 122, aka “The Night Gwen Stacy Died”). Don’t get me even started on the fact, that many of these issues get first sold in the US and only over the course of one year or longer may then additionally be sold in other parts of the world, therefore bringing in even more money for the publisher.

Example: The Duck comics by Don Rosa, which earn more than four times more in Europe, than they ever did in America, despite the guy being from California. Finally, a a little add addendum: that example Dobson gives indirectly via the “Civil War” issue? A quick google search revealed, that Civil War issue 1 sold over 300k copies in May of 2006 alone. Sure, not necessarily the best numbers ever for a single issue (as evident by the following list: https://bookriot.com/bestselling-comics-of-all-time/ )but still nothing to be ashamed of.

And yes, I know that we live currently in a time, where comic book sells have dropped significantly for a variety of reasons, one of them being an overall lack of decent stories. But as long as other stuff still manages to run freaking circles around American superheroes (*cough* One Piece *cough*) I wouldn’t say the medium itself is dead. Just a specific branch of it is suffering from a lack of quality and the customers are jumping ship.

A superhere movie meanwhile is a completely different beast. Ever since “The Avengers” came out in 2012, most superhero movies are 150-250 million dollar behemoths, that get overhyped by advertisement campaigns that are almost equally as expensive and try to trick the audience into believing, that they all are somehow the next big mindblowing thing on the big screen. Plus there hasn’t really been a superhero movie in the last 10+ years, that didn’t release simultaneously worldwide, instead of only coming out in the USA, and then a few months later, in other parts of the world.

So is it any wonder then, if a superhero movie that got advertised like the second coming of a saint, makes 1 billion, when there are already billions of potential customers worldwide all at once when the product launches?

That number btw becomes actually less impressive, once you start to think about how it came to be. Something our blue bear obviously didn’t.

See, on average every movie theater demands like what, 12-14 dollars per movie nowdays?

If we divide the box office of Civil war (1.152 billion btw) with 12 dollars, that makes on average 100 million people worldwide who watched the movie. A bit more than one or two percent of the worlds population. Not to forget, that of the box office success we have to substract such things as production cost of the movie, advertisement, the earnings of the theaters… so suddenly the movie may at best have had only earned one quarter of its box office for Disney as actual profit.

Not to forget, Dobson made that comic in 2018, when superhero movies on average did ring in so much money, because of the hype machine. But now we have 2023 and within the last five years (and especially 2023 itself) we have seen how superhero movies can also utterly fail to make money or even earn just enough to make back the production cost. Birds of Prey, Eternals, Ant Man 3, that Secret Invasion streaming show that still cost over 200 million… Do I need to get on?

Bottom line, Dobson’s indirect jab at comics as the less profitable revenue doesn’t hold that much water really in the real world, where once the hype dies down, comics may actually prove themselves as the more valuable longterm medium. Even if it may just be for the fact, that they end up staying longer relevant in the popcultural subconscious than the current movies, which tend to lose relevance with each new hastily produced and released installment in the franchise.

But where this comic really shines and shows Dobson’s ignorance on a cultural level, is in the last panel. When all off sudden it turns “racial” by claiming that Asian people, unlike “traditional” comic readers (aka white, in Dobbear s eyes therefore instantly racist people), would eat a Marvel character like Amadeus Cho up.

Question Dobson: Why do you assume, they would eat him up? You give no real argument based on anything the character does storywise, that the “target audience” may find admirable. So I can only think, that your reasoning is, because he is ever so slightly east asian coded.

Boy, do we have to unpack not just a can of worms, but a whole package of cans now.

First, the chosen language by saying “eat it up”. When being a writer, you should know that you need at times to choose your words wisely, because of the sheer implications they can carry. And the statement “eat it up” sounds way to close to a negative statement like “suck it up”. Making it come off as if Dobson considers Asian people to be mindless cattle that will consume the grub the House of Mouse will give them without question or any desire for actual quality to it.

Second, it recks of a certain mind set I hate within the American entertainment industry and some of its creators and consumers. That mind set being, that “non-traditional” American cultures supposedly don’t know better than Americans in what is okay for the sake of representation and entertainment or not. It’s a mindset that goes beyond the necessity of e.g. localizing a foreign product to the national market, by e.g. creating a sterilized, corporately mandated and rather unrealistic depiction of another culture within their product, that will fall apart as soon as the people who are supposed to be represented get a proper look at it and realize, how pandering and often times badly researched, if not outright offensive, it is.

Only recently did we see in the world of animation how that can backfire, when Disney released the trailer for “Primos” an upcoming animated show supposedly about a half Latina girl spending her summer vacation with her annoying cousins, people calling it based on the intro (and a leaked pilot) pandering towards a latino audience in a racist manner. And guess what: currently, Disney shelves it and tries to bury its existence like Dobson his old inflation art.

Dobson himself has actually indulged in that sort of shit kinda, back with his infamous Nintendo comic.

Essentially calling the “true”, Nintendo corporation approved depiction of his childhood Nintendo heroes disgraceful, for not falling in line with the late 80s depictions he saw in localized, made in America products such as the DiC cartoons. That and minor homophobia mixed with misogyny by calling Link “girly” for having longer blond hair since Ocarina of Time and blaming fangirls for it.

Third, and that is kinda related to my prior point, the reality of things is, that “Asians” actually did not eat up that sort of thing in the last couple of years. Sure, there is always that thing about a Chinese market. the big movie companies try to pander to and may succeed with some dumb action flics featuring big robots.

But the reality is, that not even people living in a dictatorship will eat up every trash you give to them, just because it comes from Hollywood or is supported by their glorious leadership. Disney tried to create two pandering messes of movies for Chinese people to watch, called Mulan (the live action adaptation) and that Shang Chi movie. And how did they do there? Oh right! The government did not even allow Shang Chi to be released and Mulan was released but supposedly didn’t do so well, considering (COVID not withstanding) it only made 70 million globally!

Don’t get me even started on every human right controversy in relation to the later, starting with filming in China near a concentration camp and ending with the main actress being essentially a Chinese propaganda puppet.

So, if those movies flopped, why would Chinese people for example flock for an Asian Hulk? A hulk that is not even Chinese but Korean.

See, this is another issue that fails with the example: The actual choice of character Dobson name dropped is actually kinda terrible.

For those unaware: Amadeus Cho is a supporting character in the Marvel comics, created in 2005 by American writer Greg Pak and artist Takeshi Miyazawa. The later, despite the name being very east Asian, sounding, actually being from Canada. Now both do have east Asian roots so to speak (Pak  e.g. is the son of an Korean-american man with a Caucasian woman), but they also have grown up within a society that taught them both western social values more so than we would see in east Asian countries. So with the creators already not necessarily having the most real life experience with the average mindset of a Korean citizen, can we really say that their actual creation helps “represent” those people of a foreign, non-american culture?

And that is not even covering stuff like the actual story of the character itself.

See, in the comics, Cho is supposed to be an American-Korean genius (wish fullfillment much, Greg?) and one of the smartest people in the Marvel Universe. His parents named him after Amadeus Mozart (a pretty white motherfucker as far as I remember) and he grew up under Methodist beliefs. So basically the “Korean heritage” of the character has already been thrown out of the window. Now I don’t expect the character to act stereotypical Korean, listen to K-pop, declare bulgogi to be his favorite dish or any of that shit. But when you want to sell me the character as being in some way or another connected to his ancestral culture, shouldn’t he engage at least in some “Korean coded” things?

I mean, the character of Anne Boonchuy in Amphibia is a Thai-American who acts more like a 13 year old girl that learns to be less selfish and impulsive over the course of the show and whose “heritage” isn’t thrown at us, the viewer, most of the time. In fact, Anne herself acknowledges that she e.g. can’t really speak thai, despite her own mother being fluent in it and a season 3 episode reveals, that Anne is “begrudgingly” a part of the L.A. thai community. And yet, in connection to the shows story and as part of Anne’s characterization, her heritage is acknowledged and plays a part of who she is. Even if it simply means she knows how to cook certain thai dishes, loves her parents and their customs, helps out in their restaurant, can speak a few words thai and knows the basics of Muay Thai, a form of martial arts (and fighting sport) from Thailand.

Amadeus doesn’t even have Korean parents anymore, because they were killed as part of his tragic hero backstory. Nor has he ever visited an Asian country. Oppps.

To build further up on it, Amadeus becomes for the longest time simply a major supporting character in the Marvel universe for the likes of Hulk and Hercules, two white coded characters. Sure, he plays a major role in the defeat of some cosmic horror level villains (such as Mikaboshi in the Chaos God storyline most people forgot even existed) but it takes a long time for him to become a “A-lister” so to speak.

In fact, according to Wikipedia, it wasn’t till after “Secret Wars” in 2016 (eleven years after the character was created), that Amadeus thanks to a chain of events eventually got his chance to Hulk out. And then they still had to kill Bruce Banner to make Amadeus “stand out” initially (don’t worry, Bruce came back. I mean, characters actually staying dead in comics, so that heroes can learn there are consequences? Preposterous) In fact, Amadeus hasn’t really proven himself as a decent “solo” act. Instead he became a member of the Champions (among Miles Morales, Mrs. Marvel, Vision’s daughter Viv. Nova and Cyclops), essentially creating yet another superhero team for teenaged vigilantes. Despite the fact, Cho himself should be by now in his mid 20s.

Now look, I do not want to shit talk the character. Partly because I haven’t read everything he was in myself and partly because in the few things I did see him in (both pre- and post Hulk) he was okay. He is a decent hero and person, who tries to do good, even if he screws up here and there. That is something I can admire in a character in general. But he is not a good “representation” of another culture, because his complexion and minor physical features aside, he is NOT embodying even minor values or traditions of that foreign culture. He is simply a Korean-American (or technically Canadian), who falls more on the American side of things.

So essentially, Dobson who virtue signaled on multiple occasions how bad it is when companies he didn’t like tried to speak on behalf of other cultures, would have no problem at all to ask for Asian people to swallow this obviously “Made in American” product. The “Made in America” line actually working both on a metaphorical and a storytelling level, cause trying to google what “east Asian coded” heroes in the Marvel Universe actually come from an Asian country instead of being simply born on American soil, is pretty damn small.

After 20 minutes I only found Shang Chi, as he was born in China, and that character was created as part of kung-fu exploitation in the 70s by white dudes.

Yaiks

However, none of that tops the next two points that really sell Dobson to me as an American centralistic racist. Or at least a twat who doesn’t understand how through bad wording he comes of as ignorant of other people’s cultures.

The way he generalizes Asian people in his statement, while also ignoring the actual accomplishments in the creation of entertainment in multiple Asian countries.

If you’ve read closely what I typed, you may have seen that I used the term Asian at times in tandem with the term “east Asian” to e.g. describe Amadeus Cho.

And that had a very deliberate reason. While I was not a fan of geography in school, even I know that Asia as a continent is not “nationally” as homogenous as let’s say Australia or North America. In fact, Asia is the biggest continent on the planet, hosts more than half of earth’s population and consists of at least 47 internationally acknowledged states.

States such as Turkey, Russia, Afghanistan, Pakistan, India, China, Japan, Malaysia, Thailand, Vietnam, North- and South Korea, Egypt, Israel, Iraq, Iran and so on.

Now what all these states have in common, is that they have their own unique historical, social and “racial” culture and background. Heck, religiously speaking, Asia is the cradle of the world.

As such, Dobson stating that a “Korean coded” character such as Amadeus Cho (who is only Korean on the most surface level and would technically just be a legacy character of yet another white person) would be an immediate hulk smash hit with all these different people of different backgrounds…. Yeah, it sounds like condescending, colonization inspired shit, a smooth brain would come up with.

To Dobson “Asia”, at least based on that comic, is only defined as the “yellow skinned” people from the far east, who like rice, noodles, spicy food and give us anime, Godzilla, fireworks, buddhism and communism. It does not include anyone from the middle east or of more European ancestry. And if you are even remotely familiar about history, you would also know that Japanese, Koreans and Chinese all around do not e.g. like to be thrown into a pot with the others for a variety of reasons. Many of them political.

Or to sum it up even shorter: Dobson insinuated that a very shallow, “east Asian” coded American comic character would be an immediate hit with more than 47 different countries, ignoring that not all of them share the same background despite being part of the “same” landmass. And in doing so, he simultaneously generalized and denounced entire groups of people based on their racial and cultural background, which in as far as I am aware of, is considered racist.

But the “racism” is supposedly justified, because “representation” matters, it would be giving the middle finger to “traditional” comic fans and those nations and their culture are underrepresented globally.

Which is baloney.

Don’t get me wrong, I myself think that representation does matter. But the world does not necessarily rely on the good old US-Ayy only to give it to us.

Cause a lot of the Asian nations I brought up here? They have their own entertainment industry and stories, which again, get ignored by Dobson to make a dumb and false point.

I mean, manga is currently dominating the international comic market, all while Japan has also a booming animation industry and some of the most iconic heroes in modern popculture with the likes of Son Goku, Kamen Rider, Super Sentai etc.

China has a prominent -if propaganda driven- movie industry.

India has Bollywood and delivers some of the most ridiculous but awesome musical movies on the planet.

Russia had authors such as Tolstoy and movie directors, that redefined the “art” of filmmaking.

Korea had a few years ago one of the biggest streaming hits with Squid Game, while also earning an Oscar for a movie titled Dobs- I mean “Parasite”.

Egypt, Iran, Iraq, Turkey… even nations that have not entertainment living up to “western standards” still produce stuff in some way or form to entertain the masses and their people. Just google up the character Kara Murat aka the avenger of Anatolia.

And don’t get me even started on the sheer ton of mythology, stories and history each of their cultures have provided the world with. Journey to the West? Baba Yaga, the entirety of the Gilgamesh epos...

And yet, there is this indirect assumption by Dobson, that all of them would be so deprived of “heroes” in their media and folklore, they would letch on second hand shop Hulk? Fuck off, Dobbear. I know you like to suck corporate cock as long as you think they are woke and you have childhood nostalgia for them, but this is pathetic. Take Amadeus before A Rama Raju comes around and roundhouse kicks him back to Canada. Then get the taste of mouse smegma of your Disney cock gobbling lips.

[pwlanier]

An absolutely wonderful advertising poster for Trau's Thee dating from 1910.

Carl Trau traveled to Europe before starting working as a druggist in Vienna in 1834. In 1850, he founded the first and oldest specialized tea shop in Austria, the "K.u.K. Hof-Thee-Handlung C. Trau", which quickly became an esteemed establishment and an official supplier to the imperial and royal court. Trau first imported tea from London and Hanseatic cities, but quickly began sourcing directly from China, becoming one of the first companies to sell Chinese tea in Europe.

In 1868, his son Franz took over the tea trade and developed it even further. Direct imports of Chinese tea received a new impetus thanks to the 1873 Universal Exhibition held in Vienna.

The amazing advertising poster depicts Chinese from the Qing dynasty enjoying their tea in a luxurious setting, suggesting that it is the best product of this exotic origin. The creator of the poster is the Austrian artist Adolf Karpellus (1869-1919), who studied at the Academy of Fine Arts in Vienna and Paris, where he became a manufacturer of posters, postcards and prints.

Courtesy Alain Truong

[europeanshops]

Online Marketplaces in Europe

Marketplaces in Europe provide access to millions of prospective clients, making them essential to cross-border commercial success. These platforms provide various product categories and appeal to a diversified clientele. Businesses must assess each platform’s audience, competitiveness, and seller criteria before putting items on a marketplace to determine the best match for their products.

[topmartbazaar]

NB F80 Desktop Gas Spring LCD LED Monitor Holder, Arm Mount, 17-30", Full Motion Display, Load Bearing 2-9kg, New, 2021

[andromachos]

Protected designation of origin (PDO) is a rule that makes it so some specific products (ie. cheeses like cheddar and parmegiano reggiano, liquors such as scotch or bourbon, etc) can only be "truly" that product if produced in it's original area it originated from. the seal is used to assure it's inherent good quality, and any attempts of recreating outside of that region and selling it makes it "counterfeit" food, which can be met with legal action even!

while it's a question about food purism, this is not a question about tangible quality, like the classic "is industrial cheese real cheese?" or anything that is about "what if there were Chemicals in this?". this is, assuming a producer recreated the original settings, is it inherently less good than the legal region it originated from?

[reasonsforhope]

"Nasir Mansoor has spent 40 years fighting for Pakistan’s workers. Whether demanding compensation on behalf of the hundreds of people who died in a devastating 2012 factory fire in Karachi or demonstrating against Pakistani suppliers to global fashion brands violating minimum wage rules, he’s battled many of the country’s widespread labor injustices.

Yet so far, little has improved, said Mansoor, who heads Pakistan’s National Trade Union Federation in Karachi... Regulations and trade protocols look good on paper, but they rarely trickle down to the factory level. “Nobody cares,” Mansoor said. “Not the government who makes commitments, not the brands, and not the suppliers. The workers are suffering.”

Change on the Horizon

But change might finally be on the horizon after Germany’s new Supply Chain Act came into force last year. As Europe’s largest economy and importer of clothing, Germany now requires certain companies to put risk-management systems in place to prevent, minimize, and eliminate human rights violations for workers across their entire global value chains. Signed into law by German Chancellor Olaf Scholz in January 2023, the law covers issues such as forced labor, union-busting, and inadequate wages, for the first time giving legal power to protections that were previously based on voluntary commitments. Companies that violate the rules face fines of up to 8 million euros ($8.7 million)...

...As governments come to realize that a purely voluntary regimen produces limited results, there is now a growing global movement to ensure that companies are legally required to protect the people working at all stages of their supply chains.

The German law is just the latest example of these new due diligence rules—and it’s the one with the highest impact, given the size of the country’s market. A number of other Western countries have also adopted similar legislation in recent years, including France and Norway. A landmark European Union law that would mandate all member states to implement similar regulation is in the final stages of being greenlighted.

Although the United States has legislation to prevent forced labor in its global supply chains, such as the 2021 Uyghur Forced Labor Prevention Act, there are no federal laws that protect workers in other countries from abuses that fall short of forced labor. That said, a proposed New York state bill, the Fashion Act, would legally require most major U.S. and international brands to identify, prevent, and remediate human rights violations in their supply chain if passed, with noncompliance subject to fines. Since major fashion brands could hardly avoid selling their products in New York, the law would effectively put the United States on a similar legal level as Germany and France...

The Results So Far

As of January, Germany’s new law applies to any company with at least 1,000 employees in the country, which covers many of the world’s best-known fast fashion retailers, such as Zara and Primark. Since last January [Jan 2023], German authorities say they have received 71 complaints or notices of violations and conducted 650 of their own assessments, including evaluating companies’ risk management.

In Pakistan, the very existence of the German law was enough to spark action. Last year, Mansoor and other union representatives reached out to fashion brands that sourced some of their clothing in Pakistan to raise concerns about severe labor violations in garment factories. Just four months later, he and his colleagues found themselves in face-to-face meetings with several of those brands—a first in his 40-year career. “This is a big achievement,” he said. “Otherwise, [the brands] never sit with us. Even when the workers died in the factory fire, the brand never sat with us.” ...

-via The Fuller Project, April 2, 2024. Article headers added by me.

Article continues below, with more action-based results, including one factory that "complied, agreeing to respect minimum wages and provide contract letters, training on labor laws, and—for the first time—worker bonuses"

With the help of Mansoor and Zehra Khan, the general secretary of the Home-Based Women Workers Federation, interviews with more than 350 garment workers revealed the severity of long-known issues.

Nearly all workers interviewed were paid less than a living wage, which was 67,200 Pakistan rupees (roughly $243) per month in 2022, according to the Asia Floor Wage Alliance. Nearly 30 percent were even paid below the legal minimum wage of 25,000 Pakistani rupees per month (roughly $90) for unskilled workers. Almost 100 percent had not been given a written employment contract, while more than three-quarters were either not registered with the social security system—a legal requirement—or didn’t know if they were.

When Mansoor, Khan, and some of the organizations raised the violations with seven global fashion brands implicated, they were pleasantly surprised. One German retailer reacted swiftly, asking its supplier where the violations had occurred to sign a 14-point memorandum of understanding to address the issues. (We’re unable to name the companies involved because negotiations are ongoing.) The factory complied, agreeing to respect minimum wages and provide contract letters, training on labor laws, and—for the first time—worker bonuses.

In February [2024], the factory registered an additional 400 workers with the social security system (up from roughly 100) and will continue to enroll more, according to Khan. “That is a huge number for us,” she said.

It’s had a knock-on effect, too. Four of the German brand’s other Pakistani suppliers are also willing to sign the memorandum, Khan noted, which could impact another 2,000 workers or so. “The law is opening up space for [the unions] to negotiate, to be heard, and to be taken seriously,” said Miriam Saage-Maass, the legal director at ECCHR.

Looking Forward with the EU

...Last month [in March 2024], EU member states finally approved a due diligence directive after long delays, during which the original draft was watered down. As it moves to the next stage—a vote in the European Parliament—before taking effect, critics argue that the rules are now too diluted and cover too few companies to be truly effective. Still, the fact that the EU is acting at all has been described as an important moment, and unionists such as Mansoor and Khan wait thousands of miles away with bated breath for the final outcome.

Solidarity from Europe is important, Khan said, and could change the lives of Pakistan’s workers. “The eyes and the ears of the people are looking to [the brands],” Mansoor said. “And they are being made accountable for their mistakes.”"

-via The Fuller Project, April 2, 2024. Article headers added by me.

[myobsessionsspace]

"So for the company and staff to help Jikook make this a possibility in the time the had before enlistment how would it make sense financially?" It would make sense because it's been planned from the very start that they would sell it to the highest bidder, in this case Disney+. If Disney+ had not been interested, then it would have either been another plateform or Weverse itself, but for Hybe, it's 100% been about making money out of it. It doesn't mean that the original idea from Jimin and Jungkook wasn't genuine, just that they knew it was the best option for them and for the company. They got their trips, they got to have fun together, they got to spend time together when they weren't even sure to be enlisted together. The Company organised it all and paid for it all, but is 100% going to make that money back. There is no question about it. In fact they probably already have, considering Disney+ already bought the show. I'm not sure if that was what you asked, so forgive me if I answered beside the point.

In response to this post

Hi lovely,

Yes that’s where my mind is too.

Not that none of this is genuine and authentic in regards to Jikook. But that of course as employees to the company that owns their Intellectual Property, the production of their travels is mutually beneficial. The company isn’t a charity after all but an entertainment company, with staff on payroll, overheads etc .

Let’s be real, if Jikook weren’t filming it, they most likely would have done vlogs, like they’ve done their past breaks or down times from schedules:

RM Vlog in Europe

V Vlog in Tokyo

SUGA Vlog in Chicago

Jimin Travel Vlog

Jungkook Vlog

Jin Fishing Vlog

j-hope LA Vlog

BANGTAN TV Vlog Playlist

Or maybe they would have gone live a few times too.

Either way they probably would have shared some of their travels with us if not with a produced show then in other ways.

Thanks for engaging with me with my musings ☺️

💜

[counting-hrt-in-posts]

How many hrt's are in this Wikipedia page?

https://en.m.wikipedia.org/wiki/Plug-in_electric_vehicle

Thanks for the ask, but lovingly I aint doing.... all that...

This is an 8500 word article of very big words and I am a human being, not a machine. That being said, I'm not outright denying this ask, but I'm not going to do 8500 words of tedious, painstaking work. This is a fun blog and my commitment to the bit is not worth weeks of work. Thanks for understanding <3

The first section, or summary of the article, has 60 counts of HRT

Plug-in electric vehicle

A plug-in electric vehicle (PEV) is any road vehicle that can utilize an external source of electricity (such as a wall socket that connects to the power grid) to store electrical energy within its onboard rechargeable battery packs, to power an electric motor and help propelling the wheels. PEV is a subset of electric vehicles, and includes all-electric/battery electric vehicles (BEVs) and plug-in hybrid electric vehicles (PHEVs).[5][6][7] Sales of the first series production plug-in electric vehicles began in December 2008 with the introduction of the plug-in hybrid BYD F3DM, and then with the all-electric Mitsubishi i-MiEV in July 2009, but global retail sales only gained traction after the introduction of the mass production all-electric Nissan Leaf and the plug-in hybrid Chevrolet Volt in December 2010.

HRT 11

Plug-in electric cars have several benefits compared to conventional internal combustion engine vehicles. All-electric vehicles have lower operating and maintenance costs, and produce little or no air pollution when under all-electric mode, thus (depending on the electricity source) reducing societal dependence on fossil fuels and significantly decreasing greenhouse gas emissions, but recharging takes longer time than refueling and is heavily reliant on sufficient charging infrastructures to remain operationally practical. Plug-in hybrid vehicles are a good in-between option that provides most of electric cars' benefits when they are operating in electric mode, though typically having shorter all-electric ranges, but have the auxiliary option of driving as a conventional hybrid vehicle when the battery is low, using its internal combustion engine (usually a gasoline engine) to alleviate the range anxiety that accompanies current electric cars.

HRT 16

Cumulative global sales of highway-legal plug-in electric passenger cars and light utility vehicles achieved the 1 million unit mark in September 2015,[8] 5 million in December 2018.[9] and the 10 million unit milestone in 2020.[10] Despite the rapid growth experienced, however, the stock of plug-in electric cars represented just 1% of all passengers vehicles on the world's roads by the end of 2020, of which pure electrics constituted two thirds.[11]

HRT 7

As of December 2023, the Tesla Model Y ranked as the world's top selling highway-capable plug-in electric car in history.[1] The Tesla Model 3 was the first electric car to achieve global sales of more than 1,000,000 units.[12][13] The BYD Song DM SUV series is the world's all-time best selling plug-in hybrid, with global sales over 1,050,000 units through December 2023.[14][15][16][17][18][19]

HRT 11

As of December 2021, China had the world's largest stock of highway legal plug-in electric passenger cars with 7.84 million units, representing 46% of the world's stock of plug-in cars.[20] Europe ranked next with about 5.6 million light-duty plug-in cars and vans at the end of 2021, accounting for around 32% of the global stock.[21][22][23] The U.S. cumulative sales totaled about 2.32 million plug-in cars through December 2021.[24] As of July 2021, Germany is the leading European country with cumulative sales of 1 million plug-in vehicles on the road,[25] and also has led the continent plug-in sales since 2019.[22][26] Norway has the highest market penetration per capita in the world,[27] and also achieved in 2021 the world's largest annual plug-in market share ever registered, 86.2% of new car sales.[28]

HRT 15

[beautifullache]

🦄The Sims 4🦄

👠Shoe Career👢

💕EARLY RELEASE 7.12.2024💕

Journeys

PTO 3 days off

Journeys is a teen retail leader with an emphasis on footwear and unique specialty items including apparel, backpacks, hats and accessories. With more than 800 stores in all 50 US states, Puerto Rico and Canada, Journeys offers the most popular brands that cater to the teen lifestyle such as Converse, Vans, Dr Martens, UGG, Adidas, Timberland, Birkenstock, Crocs and Hey Dude. Through strategic artistic partnerships, event sponsorships, exclusive content, creative collaborations with musicians, and a focus on giving back to the community through charitable events and volunteer programs— Journeys has become more than just a retailer, but a universal part of teen and youth culture. The in-store Journeys experience features an energetic environment, friendly, passionate staff, and an inclusive atmosphere where self-expression is not just accepted – but encouraged and embraced. Journeys is an attitude you can wear.

Sales Associate

Sales Lead

Assistant Store Manager

Store Manager

District Manager in Training

Allow Teen

Allow Young Adult

Allow Adult

Allow Elder

Hibbett Sports

PTO 3 days off

Hibbett, headquartered in Birmingham, Alabama, is a leading athletic-inspired fashion retailer with nearly 1,100 Hibbett and City Gear specialty stores, located in 35 states nationwide. Hibbett has a rich history of serving customers for more than 75 years with convenient locations, superior personalized customer service and access to coveted footwear, apparel and accessories from top brands like Nike, Jordan, and adidas. Consumers can browse styles, find new releases, shop looks and make purchases through our best-in-class omni-channel platform. Follow us on Facebook, Instagram and Twitter @hibbettsports and @citygear. At Hibbett I City Gear, we make it easy for you to have an edge up on the competition when it comes to your style. Whether it’s the brands we keep on our shelves or the people who work in our stores, we are here to help you reach your next level of play. You’ll get the latest products first and exclusive items that are harder to find. If you want to put your game in the right hands, you’ve come to the right place at Hibbett I City Gear. With names like Nike, Jordan, Adidas, The North Face, and Costa, we bring fashion and footwear together for you and your game. Whether you’re shopping for yourself or the whole team, at Hibbett I City Gear we have you covered from toe to head.

Sales Associate

Store Ops Projects Specialist

District Sales Manager

Manager in Training

Senior Internal Audit Analyst

Allow Teen

Allow Young Adult

Allow Adult

Allow Elder

Foot Locker

PTO 3 days off

Foot Locker, Inc. leads the celebration of sneaker and youth culture around the globe through a portfolio of brands including Foot Locker, Kids Foot Locker, Champs Sports, atmos, and WSS. With approximately 2,700 retail stores in 29 countries across North America, Europe, Asia, Australia and New Zealand, as well as websites and mobile apps, the Company's purpose is to inspire and empower youth culture around the world, by fueling a shared passion for self-expression and creating unrivaled experiences at the heart of the global sneaker community. Foot Locker, Inc. has its corporate headquarters in New York. At Foot Locker, Inc., our purpose is to inspire and empower youth culture through our family of brands by fueling a shared passion for self-expression and creating unrivaled experiences at the heart of the sport and sneaker communities.

Cashier

Sales Associate

Stock Associate

Warehouse Housekeeper

Sales Lead

Equipment Operator

Allow Teen

Allow Young Adult

Allow Adult

Allow Elder

Finish Line

PTO 3 days off

Finish Line is an American retail chain that sells athletic shoes and related apparel and accessories. The company operates 660 stores in 47 states, mostly in enclosed shopping malls, as well as Finish Line-branded athletic shoe departments in more than 450 Macy's stores.

Associate

Stock Associate

Store Management

In-Store Merchandiser

Allow Teen

Allow Young Adult

Allow Adult

Allow Elder

Champs Sports

PTO 3 days off

Champs Sports is one of the largest, athletic sports-specialty retailers in North America. We bring to the table an arsenal of the finest, freshest athletic apparel, footwear and accessories you’ll find anywhere. We believe that through our brands and our knowledgeable sales associates, we can claim the high ground as the authority on Game, and we’re here to help you up your own personal Game.

Cashier

Sales Associate

Sales Lead/Key Holder

Assistant Manager

Allow Teen

Allow Young Adult

Allow Adult

Allow Elder

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