#Dip nota

[diceriadelluntore]

Storia Di Musica #316 - The Black Crowes, The Southern Harmony And Musical Companion, 1992

La musica rock americana a fine anni ��80 è un calderone emozionante di vibrazioni che ribolle in continuazione. In quegli anni ci sarà una straordinaria concentrazione di visioni musicali, che a seconda della zona dell’immensa nazione prende dal passato per proiettarsi nel futuro. Se per esempio a Seattle la tradizione viene usata per fare a pezzi il vecchio e diventare occasione per buttare fuori tutta l’ansia del periodo, nel profondo Sud è il trampolino di lancio per catapultare nella contemporaneità il rock “classico”. La storia di oggi ci porta in Georgia, ad Atlanta, dove i fratelli Robinson crescono in una famiglia nella quale, nei decenni precedenti, la musica ha regalato qualche soddisfazione: infatti il padre, Dan, arrivò addirittura in classifica con un singolo, Boom-A-Dip-Dip, nel 1959. I fratelli Robinson, Chris alla voce e Rich alla chitarra, prima si avvicinano al punk, ma ben presto trovano molto più stimolante il rock anni ’60, sia quello tipico delle loro parti, il southern rock dal suono caldo e coinvolgente, sia il rock blues anni ’60 portato negli Stati Uniti dai gruppi inglesi. La prima formazione si chiama Mrs. Black Crowe’s Garden, ma nel 1988 cambiano nome in The Black Crowes: diventano localmente richiestissimi nei club di Atlanta e dintorni, dove li nota un emissario della A&M che fa registrare al gruppo dei demo. Non se ne fa nulla, ma una sera a sentirli suonati c’è George Drakoulias, famoso produttore e talent scout, che li segnala alla persona che in quel momento è il produttore più interessante del paese: Rick Rubin. Sebbene non suonino metal, la specialità della Def American di Rubin, i ragazzi suonano meravigliosamente nel loro mix di vecchio e nuovo, un rock solido e arricchito di soul, gospel e passione, e vengono messi sotto contratto. Tutta questa passione si percepisce già dalla copertina del loro primo disco, Shake Your Money Maker (1990): prodotto da George Drakoulias, si rifà nella grafica del titolo e nella foto a quelle mitiche dei gruppi british blues di 30 anni prima, fa pensare ai Faces e ai primi Rolling Stone, e il dubbio scompare sentendo con che voce si presenta Chris Robinson: un mix selvaggio di Rod Steward e di Mick Jagger, il suono potente e solido di brani come She Talks To Angels, Twice As Hard o la superlativa cover di Hard To Handle di Otis Redding. Il successo arriva quasi inaspettato: milioni di copie vendute e una fama crescente, frutto anche delle stupende esibizioni live, pirotecniche e imperdibili, che convincono pure gli spettatori delle band metal della Def American a cui sono chiamati ad aprire i concerti.

Nel 1992, in un paio di settimane, registrano il loro secondo album, chiamati all’arditissimo compito di replicare il successo del primo: ma sin dalle prime note, The Southern Harmony And Musical Companion, che prende il nome dal titolo di un inno di William Walker, un pastore battista dell’800, non delude le aspettative e sarà un disco epocale per bellezza e successo. È sempre la copertina che rivela la nuova strategia della band: i musicisti sono fotografati in bianco e nero facendo intuire che stavolta più che il rock blues inglese è la tradizione del southern rock alla Allman Brothers Band e Lynyrd Skynyrd ad essere di ispirazione. Con l’innesto di Marc Ford alla seconda chitarra (il resto vedeva Johnny Colt al basso, Steve Gorman alla batteria e Eddie Harsch alle tastiere), il suono diventa più pieno e pastoso, l’aggiunta di cori femminile rimanda alla grande tradizione Soul, l’affiatamento generale e le doti da cantante di Chris Robinson, davvero convincente, ne fanno un disco che schizza in vetta alle classifiche, con 4 singoli numero uno nella classifica di Billboard, record rimasto per anni imbattuto. La travolgente Sting Me apre il disco, seguita da Remedy dove si innalza il piano di Eddie Harsch a cadenzarne la ritmica . Thorn In My Pride, un super blues, come No Speak No Slave, ha echi zeppeliani (amore mai nascosto, dopo anni la band registrerà un live nientemeno che con Jimmy Page in persona). Bad Luck Blue Eyes, Goodbye è una ballatona ariosa e stupenda, come Sometimes Salvation, dove Robinson canta alla maniera straziante di Janis Joplin. Hotel Illness è il brano più immediato, come la bellissima My Morning Song. Chiude un omaggio a Bob Marley, Time Will Tell, che sigilla con una struggente natura gospel un disco che si ascolta tutto d’un fiato. Dopo l’ennesimo tour a mille e pieno di soddisfazioni, cambiano produttore e pubblicano nel 1994 Amorica: però più che per le canzoni è ricordato per con la famosa copertina, anche censurata, di un primo piano di un succinto slip a stelle a strisce che appena copre un pube di una donna nera. La band, dopo vari avvicendamenti (il più famoso fu l’allontanamento di Marc Ford come secondo chitarrista, per i gravi problemi di dipendenza da droghe di quest’ultimo) pubblicherà un altro grande disco, By Your Side del 1999, e continuerà una strepitosa carriera live nei più grandi festival e con collaborazioni prestigiose (oltre al già citato Page, anche i mitici Dead) ma i dissidi tra i fratelli, anche economici, porteranno ad una serie di liti e reunion, intramezzati anche da un ottimo disco, Warpaint del 2008, fino allo scioglimento del 2015.

Nel 2019 però l’inattesa svolta: prima l’annuncio di un tour celebrativo di Shake Your Money Maker, poi lo stop per la pandemia Covid-19, ma dal 2022 nuove date e addirittura un nuovo, inatteso disco, che uscirà la settimana prossima, il 15 Marzo 2024, dal titolo che è un programma: Happiness Bastards. Quando uscì, oltre 30 anni fa, Shake Your Money Maker (che è il titolo di un classico blues di Elmore James) la band era considerata la next big thing del rock a stelle e strisce, persino all’esordio musicale band dell’anno 1990 per la rivista Rolling Stone. A distanza di anni si può dire che in parte hanno disatteso quella speranza, ma hanno lasciato degli esempi di musica genuina e viscerale che sembra quasi stridere con tutto quello che in quegli anni diventerà preponderante.

[apriyapriy]

Senden nefret ediyorum. Aldığın her nefesten attığın her adıma kadar; çıkardığın her sesten gözüme göründüğün her ana kadar nefret ediyorum.

Biliyor muydun ?Belki de fark edebilmişsindir. İki türlü de umrumda değil gerçi çünkü peşinden akıttığım hiçbir gözyaşı senin için değildi, çaresizlik gözyaşlarıydı onlar, nefret ve kin doluydu hepsi...Ayrıca pek azı kendim içindi. Ben onun için döktüm gözyaşlarımı ve aldığım her nefes de bir tek onun içindi çünkü sen onu hak etmiyordun.

Bugün şiirsel olmak gibi bir kaygım yok. Ancak benim için sığınacak tek liman sanat olucaktır. Hayatın en dip noktasında olsam bile güzel bir yazı, göz alıcı bir resim ya da beni canlı hissettirebilecek tek bir nota için çırpınmak istiyorum. Benim için hayat bundan fazlası değildir.

Fakat sen bunu anlayamazsın. Sen sığsın, duygusuzsun, aklıma gelebilecek en büyük küfürsün sen...Seni görmeden yaşamak, seninle paylaşmadığım bir oksijen çekmek isterdim ciğerlerime...bana yaşattığın öfkenin, çaresizliğin, korkunun ve hüznün daha fazlasını kazımak isterdim kemiklerine..acı çekişini izlemek isterdim...

Bunun olması için kime ya da neye yalvarmam gerek emin değilim. Haykırışlarım bir yere gitmiyor olsa da karşılığını almayı diliyorum çünkü aklımdan silemediğim şeyler var...

[stabbysticks]

Throwback Thursday (Special Halloween Edition)

Yeah, I'm double dipping, because this work is peak spook energy.

I had so much fun with this pattern. If you're nota fan of kitchener, I wouldn't recommend, but it's pretty minor so if you can tolerate it, then give this project a try.

(Construction is working out the two sides & kitchenering them together.)

Pattern: Zombie by Anne Bridgman Project Page: Zombie Vest (+ Bonus Rainbow Barf Zombie Vest)

[ochoislas]

VIVIENDO SOLA

(I)

En el plateado ahora de mi vida sola, ¿no parece —sopeso— que pueda pasar de todo? En la cubierta plana de una fábrica a la altura de mi ventana, tordos náyade calan trémulas balsas donde flota el cielo, que no desmerece de aquél remoto. Cualquier escalera extraña, como en mis veintiuno… cualquier mano que tira de mí arriba, podría llevarme a mi vida. Hay tales días.

Y si costeo, yendo a casa, las tardes de primavera, en calma, algo como un canto surge en mí que abarca Davis Square y la cafetería veinticuatro horas y los billares, es el canto de la infancia —de cierto no cambia una nota—, cantado en Valentines Park o en las costanas del mapa de mi mente en la quietud de la hora de la cena, todos dentro ya. La soledad en la multitud me sedujo pronto.

(II)

Hay días, con todo, viviendo sola, que sólo se conoce el silencio, jaleo de esquilas enmarañadas en campanil desmoronado, palabras raídas, quebradas a medio articular.

Tordos, como antes, silban cavilando embebidos, crescendo, diminuendo. Mi corazón bate sin pausa, seguro como un reloj. mas hay silencio.

Retoñados, los árboles vecinos se redondean. Si bien hay uno cerca de mi ventana que parece que no tiene yemas.

(III)

Dije, el jardín de verano que planté sólo trae hojas, hojas abundantes, pero no flores. Y entonces las flores, de muchos colores y formas, delicados, misteriosos, brotaron.

Dije, el árbol no tiene yemas. Y entonces las hojas, tímidas, dispersas, como reacias, en menos de dos días aparecieron, y el árbol, ahora, vuela con alas verdes.

¿Qué mágica negativa pronunciará mi vida que la saque a luz?

*

LIVING ALONE

(I)

In this silvery now of living alone, doesn’t it seem, I ponder, anything can happen? On the flat roof of a factory at eye level from my window, starling naiads dip in tremulous rainpools where the sky floats, and is no smaller than long ago. Any strange staircase, as if I were twenty-one— any hand drawing me up it, could lead me to my life. Some days.

And if I coast, down toward home, spring evenings, silently, a kind of song rising in me to encompass Davis Square and the all-night cafeteria and the pool hall, it is childhood’s song, surely no note is changed, sung in Valentines Park or on steep streets in the map of my mind in the hush of suppertime, everyone gone indoors. Solitude within multitude seduced me early.

(II)

Some days, though, living alone, there’s only knowledge of silence, clutter of bells cobwebbed in crumbling belfry, words jaggéd, in midutterance broken.

Starlings, as before, whistle wondering at themselves, crescendo, diminuendo. My heart pounds away, confident as a clock. Yet there is silence.

New leafed, the neighbor trees round out. There’s one, near my window, seems to have no buds, though.

(III)

I said, the summer garden I planted bears only leaves—leaves in abundance but no flowers. And then the flowers, many colors and forms, subtle, mysterious, came forth.

I said, the tree has no buds. And then the leaves, shyly, sparse, as if reluctant, in less than two days appeared, and the tree, now, is flying on green wings.

What magic denial shall my life utter to bring itself forth?

Denise Levertov

di-versión©ochoislas

[ocombatente]

China habilita 38 frigoríficos brasileiros para exportar carne um em RO, Frigorífico Rio Machado - Ji-Paraná

Esse é o maior número de plantas autorizadas de uma só vez na história; JBS é a empresa com mais aprovações nesta rodada Antes dessas autorizações, o Brasil tinha 106 plantas habilitadas para a China: 47 de aves, 41 de bovinos, 17 de suínos e 1 de asininos. Agora, são 144 unidades no total. Recentemente, a China retirou a medida antidumping que era aplicada desde 2019 às exportações brasileiras de carne de frango. O mecanismo sobretaxava os negócios entre 17,8% e 34,2% conforme a empresa exportadora. Novo marco entre os países   O ministro da Agricultura, Carlos Fávaro, afirmou que o anúncio da habilitação de 38 novos frigoríficos para exportar carnes para a China significa um marco na relação bilateral entre os dois países. "O governo da China acaba de anunciar o estabelecimento de 38 novas plantas comerciais de carnes brasileiras para comercializar com aquele país. É um recorde histórico, um momento muito especial", disse em postagem nas redes sociais. Fávaro agradeceu ao governo da China pela "confiança estabelecida" na relação com o Brasil. "Esse é um momento importante para os dois lados. A China vai receber carnes de qualidade, com preço competitivos, com a garantia dos produtos à sua população e a certeza que vai ampliar suas relações comerciais com Brasil também, vendendo produtos chineses à nossa agropecuária", disse o ministro. "Esse é um dia histórico para a relação Brasil-China, um dia histórico para a nossa agropecuária". O ministro ressaltou que a participação do presidente Luiz Inácio Lula da Silva foi importante para as habilitações por conta do "tratamento especial que dá à diplomacia" e por ter "estreitado laços comerciais com a China". Setor comemora   A Associação Brasileira de Proteína Animal (ABPA) comemorou o anúncio da habilitação de novas unidades frigoríficas de carne de frango e entrepostos frigoríficos para exportar para a China. "É o maior incremento de habilitações de aves já realizado pela China, após cinco anos sem novas unidades autorizadas. As habilitações são fruto dos esforços conduzidos com competência pelo Ministro da Agricultura, Carlos Fávaro, e sua equipe, além do Ministério das Relações Exteriores e demais órgãos do Governo. São, também, um importante reconhecimento da China ao trabalho realizado pelo Brasil”, destacou, em nota, o presidente da ABPA, Ricardo Santin. Agora, o Brasil conta com 55 plantas de aves habilitadas para exportar para a China e quatro entrepostos frigoríficos. "Há boas expectativas sobre o desempenho das vendas brasileiras para o país asiático com estas habilitações, especialmente porque novos grupos empresariais terão pela primeira vez acesso a este importante mercado. A China é o principal destino das exportações brasileiras de carne de frango, com 10% de todos os embarques realizados pelo setor no primeiro bimestre deste ano", analisou o diretor de mercados da ABPA, Luís Rua. Veja a lista dos frigoríficos habilitados:   Bovinos JBS - Santana do Araguaína (PA) JBS - Naviraí (MS) JBS - Confresa (MT) JBS - Alta Floresta (MT) JBS - Marabá (PA) JBS - Campo Grande (MS) - SIF 4400 JBS - Campo Grande (MS) - SIF 1662 JBS - Pimenta Bueno (RO) JBS - Diamantino (MT) JBS - Pontes e Lacerda (MT) Minerva - Araguaína (TO) Minerva - Janaúba (MG) Marfrig - Bataguassu (MS) Beauvallet Goiás Alimentos - Inhunmas (GO) Prima Foods - Cassilândia (MS) Prima Foods - Santa Fé de Goiás (GO) Mercúrio Alimentos - Xinguara (PA) Frigorífico Tavares da Silva - FTS - Xinguara (PA) Better Beef - Rancharia (SP) Boa Carne - Colider (MT) Boibras - São Gabriel do Oeste (MS) Distriboi - Ji-Paraná (RO) Pantaneira - Várzea Grande (MT) Frigorífico Rio Machado - Ji-Paraná (RO) Pampeano - Hulha Negra (RS) Aves Seara - Santo Inácio (PR) Aurora - Guatambú (SC) BRF - Chapecó (SC) Dip Frangos - Capanema (PR) Jaguafrangos - Jaguapitã (PR) Avenorte - Cianorte (PR) Cooperativa Languiru - Westfalia (RS) Plusval - Umuarama (PR) Entreposto de produtos de origem animal Seara - Itajaí (SC) - aves e suínos Aurora - Itajaí (SC) Cotriguaçu - Cascavel (PR) Martini Meat - Rio Grande (RS) com informações Globo Rural Read the full article

[capitalflutuante]

A empresa aérea Gol recebeu nesta segunda-feira (29) a aprovação do Tribunal de Falências do Distrito Sul de Nova York, nos Estados Unidos, para reestruturação financeira legal da companhia. A Gol foi autorizada a acessar US$ 950 milhões do financiamento na modalidade “devedor em posse” (DIP), que foi concedido à empresa, e buscará aprovação final para receber integralmente o financiamento em audiência que será realizada nas próximas semanas. Na última quinta-feira (25), a empresa anunciou ter entrado com pedido de recuperação judicial nos Estados Unidos. Segundo a empresa, a medida é necessária para levantar capital e reestruturar suas finanças. Segundo a empresa, as aprovações concedidas pelo Tribunal dos Estados Unidos na audiência First Day hearing garantem que a Gol continuará operando normalmente durante o processo. Com a aprovação, a Gol garante que irá honrar todos os compromissos com parceiros de negócios e fornecedores de bens e serviços prestados a partir da data de início do processo, além do pagamento de salários aos colaboradores.  “Com acesso aos recursos, a Gol continuará oferecendo voos seguros e serviços confiáveis a baixo custo, proporcionando a melhor experiência de viagem aos clientes. Os clientes podem continuar a organizar viagens e a voar como sempre fizeram, incluindo a utilização de passagens e vouchers, além da compra e utilização de milhas acumuladas por meio do Programa de Fidelidade Smiles. Da mesma forma, os acordos de codeshare e interline da Gol permanecem disponíveis aos clientes”, informou a empresa, em nota. Com informações da Agência Brasil

[glotoncubano]

Cómo Hacer Crema de Queso: Receta Sencilla y Deliciosa

Bienvenidos a un nuevo capítulo culinario con su amigo, el Glotón Cubano. Hoy, voy a compartir con ustedes una deliciosa receta, te enseñaré cómo hacer crema de queso. Sí, habéis leído bien, crema de queso. Imagina un baño cremoso de queso derretido listo para mojar todo lo que se te antoje. No me puedo contener, así que ¡comencemos de inmediato!

Ingredientes para Hacer Crema de Queso

- 500 gramos de queso cheddar - 2 tazas de leche entera - 2 cucharadas de mantequilla - 2 cucharadas de harina de trigo - Sal y pimienta al gusto

Cómo Hacer Crema de Queso

1. Primero, derrite la mantequilla en la olla a fuego medio. 2. Añade la harina y mezcla bien para formar una pasta. 3. Agrega la leche poco a poco, mientras continúas mezclando para evitar grumos. 4. Cuando la mezcla esté suave, añade el queso rallado y revuelve hasta que se derrita por completo. 5. Sazona con sal y pimienta al gusto. ¡Listo! Ya tienes tu crema de queso casera. Utensilios Necesarios - Una cuchara de madera - Una batidora de mano (opcional) - Un recipiente para mezclar Tiempo de Elaboración Preparación: 10 minutos Cocción: 15 minutos Enfriamiento: 10 minutos Tiempo total: 35 minutos Valores Nutricionales - Porciones por Envase: 6 - Tamaño de 1 Porción: 100ml - Calorías: 280 por porción - Grasas: 12g - Carbohidratos: 45g - Proteínas: 2g

Más acerca de la Receta de Crema de Queso

La receta de crema de queso es una de esas recetas clásicas que nos transportan a la infancia. Nada como un trozo de pan caliente bañado en esta deliciosa crema para hacernos sentir como niños de nuevo. Aunque su origen es incierto, lo que sí sabemos es que esta receta ha alegrado paladares alrededor del mundo durante generaciones. Espero que disfruten de esta deliciosa Receta de Crema de Queso tanto como yo. ¡Buen provecho!

Ver Video receta de crema de queso

Los mejores quesos para nuestra Receta de Crema de Queso

Para nuestra Receta de Crema de Queso, el queso cheddar es nuestra primera opción. Pero, ¿sabías que hay una variedad de quesos que puedes utilizar para darle tu toque personal a esta receta? Vamos a explorar algunas de estas opciones. - Gouda: Este queso tiene un sabor suave y cremoso, lo que lo convierte en una excelente opción para nuestra crema de queso. - Monterey Jack: Este queso americano tiene una textura cremosa y un sabor delicado que puede realzar nuestra receta. - Queso azul: Si te gusta el sabor fuerte y picante del queso azul, puedes agregarlo a nuestra receta para darle un toque de sabor intenso.

Alternativas a la leche para la Receta de Crema de Queso

La leche es un ingrediente esencial en nuestra Receta de Crema de Queso, pero, ¿qué pasa si no puedes o prefieres no consumirla? A continuación, presentamos algunas alternativas. - Leche de almendra: Esta es una excelente opción para aquellos que buscan una alternativa a la leche de vaca. Su sabor suave combina bien con la crema de queso. - Leche de soja: Esta alternativa tiene un sabor más fuerte, pero aún así puede funcionar bien en nuestra receta. Asegúrate de elegir una versión sin azúcar para evitar alterar el sabor de la crema de queso. - Crema de coco: Si quieres darle un toque exótico a tu crema de queso, puedes probar con la crema de coco. Su sabor suave y dulce añadirá una nota tropical a tu receta.

Dónde usar la Receta de Crema de Queso

Nuestra Receta de Crema de Queso es muy versátil y puede ser utilizada en una variedad de platos. Aquí te presento algunas ideas: - Sobre pasta: ¿Quién necesita salsa Alfredo cuando puedes tener crema de queso? Esta receta va de maravilla sobre espaguetis o fettuccine. - Dip para nachos: Prepárate para el próximo día de juego con un delicioso dip de crema de queso. Tus amigos te lo agradecerán. - En una hamburguesa: ¿Por qué no? Añade un toque de cremosidad a tu hamburguesa con nuestra receta de crema de queso.

¿La Receta de Crema de Queso es saludable?

Aunque nuestra Receta de Crema de Queso puede ser rica en calorías y grasas, también puede ser parte de una dieta equilibrada. El queso es una excelente fuente de proteínas y calcio, y si lo combinamos con ingredientes saludables como verduras frescas o granos integrales, podemos disfrutar de una comida nutritiva y deliciosa. Recuerda, todo se trata del equilibrio.

Cómo conservar la Receta de Crema de Queso

Si te ha sobrado algo de nuestra Receta de Crema de Queso (lo cual dudo mucho), puedes conservarla en el refrigerador hasta por una semana. Asegúrate de guardarla en un recipiente hermético para mantener su frescura. Y así concluimos nuestro viaje por el delicioso mundo de la Receta de Crema de Queso. Hemos aprendido a prepararla, a personalizarla con diferentes tipos de queso y alternativas a la leche, y a usarla en una variedad de platos. Además, hemos hablado sobre su valor nutricional y cómo conservarla. Pero, lo más importante, hemos compartido el amor por la cocina y la alegría de crear algo delicioso con nuestras propias manos. Espero que te hayas divertido tanto como yo y que esta receta se convierta en un nuevo favorito en tu hogar. ¡Hasta la próxima, amigos! Aprende más sobre el queso Read the full article

[disitalmedyaseo06]

Parfüm Notaları Hakkında Küçük Tüyolar

Parfüm notaları, bir parfümün kokusunun belirli bir süre boyunca nasıl evrim gösterdiğini tanımlayan öğelerdir. Parfümler üç temel nota olarak kategorize edilir: başlangıç notaları, orta notalar ve bitiş notaları.

1.            Başlangıç notaları (Üst notalar): Parfümün en yoğun koktuğu ilk dakikalarda hissedilir. Bu notalar, genellikle hafif ve hızlı bir şekilde kaybolan tatlı veya taze kokuların birleşimi olarak tanımlanır.

2.            Orta notalar: Başlangıç notaları kaybolduktan sonra, orta notalar ortaya çıkar. Bu notalar, genellikle 1-2 saat içinde hissedilir ve kokunun evrimini belirler.

3.            Bitiş notaları (Dip notalar): Orta notalar kaybolduktan sonra, parfümün uzun süre kalmasını sağlayan bitiş notaları ortaya çıkar. Bu notalar, genellikle deriye veya vücuda karışarak, kişisel koku olarak kalır.

Parfüm notaları, bir parfümün kokusunun evrimini ve zamanla nasıl değiştiğini tanımlar. Kişisel tercihlere göre, başlangıç, orta ve bitiş notaları arasında farklı oranlarda esanslar bulunabilir.

[acapulcopress]

Prestadores de servicios turísticos pactan trabajo conjunto con la Dip. Estrella Bernal

ACAPULCO * 17 de abril de 2023. ) Acapulco Press Prestadores de servicios turísticos y empresarios sostuvieron un encuentro de trabajo con

la diputada Estrella de la Paz Bernal, quien escuchó atenta sus planteamientos y se comprometió a trabajar mano con mano con ellos para atender las necesidades y problemas de la zona turística del puerto planteados en dicha reunión celebrada en el restaurante El Camarón Jackie, propiedad del empresario Jesús Zamora Cervantes. La petición central de los prestadores de servicios turísticos consistió en más espacios y lugares de playa limpios para mejorar la imagen turística de la zona turística del puerto. La legisladora local respondió que en su carácter de representante popular en la LXIII Legislatura del Congreso de Guerrero, dará atención a todas las peticiones que le planteen y con honestidad también les dirá cuales sí y cuales no podrán realizarse. "De nada sirve nada sirve que les diga que sí y a la mera hora salgamos que no se realizará nada de lo gestionado", expresó enfática la diputada por el Distrito 3 de Acapulco, quien se comprometió a mantenerse en contacto directo con los prestadores de servicios turísticos allí reunidos, a quienes consideró "parte primordial" del éxito de la imagen turística del puerto.

Zamora Cervantes, quien también funge como presidente de la Comisión de Infraestructura del Consejo Consultivo del Estado de Guerrero, agradeció la disposición de diálogo de la diputada Estrella Bernal y de algunos legisladores que, como ella, están atentos a la problemática que viven la mayoría de los prestadores de servicios y las necesidades de la zona federal turística para mejorar el servicio e imagen que se brinda en las playas y la franja turística, motivo por el cual también hizo un llamado a la ciudadanía, en general, para que coadyuven a cuidar los accesos de playas y las nuevas remodelaciones, como la Plaza Quebec, recién inaugurada por le Gobernadora Evelyn Salgado Pineda, "quien con su valioso apoyo estatal ha venido a darle una imagen nueva y fresca a nuestro puerto de Acapulco". A su vez, Arturo Pantoja Guatemala, presidente de las Cooperativas Turísticas de Acapulco,

agradeció a la diputada Bernal su atención y tiempo para tomar nota en serio de la participación ciudadana, los empresarios y los prestadores de servicios turísticos por la imagen de Acapulco. "Eso habla bien de su trabajo como legisladores", le dijo. "Queremos que a través suyo se escuche nuestra voz y nuestras peticiones en el Congreso; ya no queremos simulación de ayuda, queremos que realmente se reflejen los apoyos a nuestro gremio, de verdad le dijo diputada, nosotros somos amigos de todos, no tenemos colores partidistas", subrayó el cooperativista a nombre de su gremio y de todos los que a diarios luchan por dar un mejor servicios al turismo para que regresen y hagan de Acapulco su destino de playa favorito, para lo cual, obviamente, se requiere de trabajo conjunto con las autoridades, por lo cual reiteró su agradecimiento por escucharlos y hablarles claro respecto a lo que se podrá y no se podrá hacer respecto a sus demandas y peticiones como prestadores de servicios turísticos. ) Síguenos en nuestra página Facebook / @Acapulco Press Read the full article

[snailor-bee]

Marco - Kiss of Fire

I love Marco so much. ;o; @spitfire-of-the-sea and @the-witch-of-one-piece both asked for Marco, so I hope this satisfies! <3 This song always makes me think of him or Ace but I picture Marco being able to dance more than Ace so he wins. 8'D!

GN!Reader / SFW / 782

Song: "Kiss of Fire" - Hugh Laurie

Con este tango que es burlón y compadrito Se ató dos alas la ambición de mi suburbio Con este tango nació el tango y como un grito Salió del sórdido barrial buscando el cielo Conjuro extraño de un amor hecho cadencia...

The song started and you bit your lip to hide an excited gasp. It wasn't successful as your boyfriend peered down at you, arm warmed from where it was wrapped around your waist. 

"Everything okay, yoi?" Marco asked with concern and you shook your head with a smile. 

"Fine! I just love this song." 

Lidded blue eyes sparkled as his eyebrows rose. "Oh? Wanna dance?" 

"With you?" You laughed even as you followed the tug his arm did around you, keeping up with his long strides. 

"Rude," he answered immediately. You both knew Marco didn't dance. Or well, refused too after he got laughed at by Thatch and some others. His hand settled onto your lower back and positioned you in front of him. Easily he grabbed up your other hand in his, the palm was strangely soft. You always expected it to be callous, like the other pirates on the crew but his healing abilites prevented that. "Maybe I learned to tango." 

You snorted before grabbing onto his shoulder. "I doubt that."  I touch your lips and all at once the sparks go flying Those devil lips that know so well the art of lying And though I see the danger, still the flame grows higher I know I must surrender to your kiss of fire

Marco grinned as he suddenly pulled you against him. "Maybe you shouldn't be underestimating me, yoi." He started strutting and instantly you followed, blinking with surprise at how graceful his steps were. 

Just like a torch, you set the soul within me burning I must go on, I’m on this road of no returning And though it burns me and it turns me into ashes My whole world crashes without your kiss of fire

The two of you circled around the dance floor the feeling of his chest and legs brushing against you so intense as the two of you danced so close together, breaths mingling. 

It was obvious he had gotten training. You could dance the tango but the only person on the ship who knew how to was—

"Did you get Vista to teach you?" you asked, godsmacked. 

Por tu milagro de notas agoreras I can’t resist you, what good is there in trying?

Marco smiled before dropping you down into a dip. "Maybe." 

Nacieron sin pensarlo las paicas y las grelas What good is there denying you’re all that I desire?

Not one to be undone, when he straightened up, you broke away from his arms and took a few steps away, eyes dancing with equal parts humor and heat. 

"Then prove it," you challenged before cocking a finger at him. 

Luna en los charcos, canyengue en las caderas Since first I kissed you my heart was yours completely

Coming together once more, this time you felt it as Marco guided you even faster. You let your legs kick out, let the music overtake you, feeling it echo into your very bones. 

Y un ansia fiera en la manera de querer If I’m a slave, then it’s a slave I want to be

Snapping you out away from him, Marco let the moment hang as the two of you stared at each other. The tension was palpable as the two of you panted from dancing before he yanked on your hand and you twirled back into him. 

Don’t pity me, don’t pity me

Ending up with your back against his chest, his face was so close to yours, you felt a whisper of a kiss against your lips before he pushed you away again. The dance was a push and pull, after all. A constant thread of desire and passion. 

Give me your lips, the lips you only let me borrow Love me tonight and let the devil take tomorrow I know that I must have your kiss although it dooms me Consumes me, the kiss of fire!

The song ended and Marco grabbed the back of your neck, you went gladly as he pulled you towards him, meeting in a heated kiss. The sounds of cheering and clapping were distant in your ears, as you griped his open shirt tightly. 

When he finally withdrew, Marco blinked as you both heaved before he grinned as you laughed. "Guess I should have learned sooner, huh? If you reacted like that, yoi." 

You smacked him, good-naturedly. "Oh shut up, you enjoyed it too," you teased. "But yeah, definitely we should do that again sometime." 

Marco pressed a kiss at the crown of your head, telling you silently that he agreed.

[rosesandalfazemas]

He compartido 1195 publicaciones este 2022

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165 publicaciones originales (14 %)

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#doodling because it's midnight and this is the only moment i can do this at home

Mis publicaciones más populares este 2022:

5

I’m a little bit tired and thinking very hard about port x nyo England at the moment and so, even though I’ve yet to see Van Helsing (2004), I do think that scene where Dracula dips a woman in front of a mirror and she’s the only one who shows up in this room full of people has major engport vibes 👀

You should watch it, it's a good movie :D. If I tell you I'm roleplaying Vampire!Port with @greengreekeyes25 and one of his brides is Arthur, maybe you would think it's a coincidence. But there're not coincidences in the world, just fate.

Happy Samhain ;)

Ps. The other brides are Francis - who has Scotland as his lover/child, and Ana (Belgium), who has Antonio as her slave; and Abel is Van Helsing.

56 notas. Fecha de publicación: 31 de octubre de 2022

4

Rarepair Hetalia Week - DAY VI - Mermaids n' Pirates

Almost last work for @hwsrarepairweek2022! - This is the first time I do this kind of AU, so while I was drawing it, that line came up and then I had the idea of a context for this:

Iberia is a Mermaid Queen, ruler of the Mediterranean area. She has two children who are the inheriters of the kingdom. It is said there is a whole country-like under the seas made of pure gold and pearls. Of course this makes marines and pirates to navigate there, but there are legends of being devoured and the ships always dissapeared.

Our ambitious Arthur goes to adventure to find treasures with his crew, but their destiny is the same as everyone else. Fortunately for him, the princes weren't hunting for her mother or for them (yes, human meat is a delicatessen), and one of them rescued him and put him in land. The mermen have never been seeing by humans, and then Kirkland, after a couple of months, went to look for him once again. Since it seemed an accident - or the human is a total dork - Portugal rescues him again and then this scene happens.

Nop, t's not a fic, just the idea came out alone so, I shared it with you!

Thanks to @geocore who let me use their desing of sea-creature Portugal, as they imagine him from the myths. I applied it for a merman and it fits perfectly so, welcome to my new visual headcanon my friend )?

Hope you like it, and take care~

57 notas. Fecha de publicación: 25 de junio de 2022

3

Finally I could do the cover for my fic, La Perla y El Rubi~

Hope you like it!

63 notas. Fecha de publicación: 17 de julio de 2022

2

Everyone in the fandom jokes that Arthur has a flat ass but it would really funny if he didn’t and it would drive Port crazy

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66 notas. Fecha de publicación: 26 de noviembre de 2022

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91 notas. Fecha de publicación: 22 de mayo de 2022

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[thesims4-adventure]

Not So Berry Legacy Challenge

Generation One: Mint

Depois do meu aviso em relação as notas eu decidi que teria que me esforçar. Eu não vim até aqui, depois de tanta confusão, para ficar brincando. Estava na hora de ser mais responsável! E não a melhor amiga de todo mundo, na verdade eu estava ficando sem paciência para todo mundo.

Carola trabalhou o suficiente para tirar uma nota decente naquela matéria, embora ela tenha visto alguns outros alunos parecendo aprender de forma mais proativa. Ainda assim, Carola acha que isso vai ajudar em sua nota final.

Não estou dizendo que sou a melhor colega de quarto, mas pelo menos não sou a Carola

Achei estranho que o vendedor da barraca de comida era o mesmo que trabalhava na barraca de comida na praia em Sulani e na verdade já vi ele trabalhando no refeitório aqui no prédio. Mas agora é hora de eu me preocupar com minha própria vida.

Quando peguei meu boletim achei que eu fosse gritar, mas ao invés disso eu fiz barulho de golfinho, e não foi só barulho, aí...será que alguém viu? O que foi isso...

Mas eu consegui notas para passar para o próximo período...é lógico que eu preciso me organizar melhor para não ficar nesta correria de novo.

Nada de mergulhos relaxantes, a água do lago antes estava gelada...agora, congelada.

**After my warning regarding the grades I decided that I would have to put in some effort. I didn't come all this way, after all this confusion, to play around. It was time to be more responsible! And not everyone's best friend, in fact I was running out of patience for everyone.

I found it strange that the food stall salesman was the same one who worked at the beach food stall in Sulani and I actually saw him working in the cafeteria here in the building. But now it's time for me to worry about my own life.

When I got my report card I thought I was going to scream, but instead I made a dolphin noise, and it wasn't just noise, so... has anyone seen it? What was this...

But I got grades to pass to the next term... of course I need to organize myself better so I don't get into this rush again.

No relaxing dips, the lake water was icy cold before... now, frozen.**

**sorry for my terrible english** E me desculpem pelo meu português também...

[theoutcastrogue]

Thick as Thieves

[This article is an interesting exploration of the Thief archetype in RPGs, and how it relates to fiction and real life. It was written by rpg.net columnist Aeon in 2001 – so it's missing 20 years worth of developments in roleplaying games, not to mention historical research. I added some notes here and there (marked as "N.B.", nota bene, how old-fashioned of me), but I didn't fully update it or anything. All emphasis mine.]

"I am Abu the thief, son of Abu the thief, grandson of Abu the thief." ~ The Thief of Bagdad (1940)

Anabaptist, bawdy basket, brigand, bubber, bufe napper, bung nipper, clank napper, cloyes, cracksman, criminal, crook, cutpurse, filcher, footpad, foyst, highwayman, made man, moon curser, nypper, old hand, pickpocket, poulterer, prigger, resurrection man, robber, rogue, rover, scoundrel, shoplifter, sneak, swaddler, swindler.

He has a million names, but only one real face.

Thief.

The dictionary defines "thief" as "one that steals especially stealthily," and implies that it may have its origins from the Lithuanian "tupeti," meaning "to crouch down" (as if to conceal oneself). [N.B. "thief" has many cognates but is of uncertain origin, other than a proto-Germanic *theuba- or *þeubaz] Even a brief glance at the definition should give one cause to pause, however, because it's obviously redundant to some degree. "Steal" and "stealth" would seem to come from the same root, and indeed, they have close origins in the Old English "stelan," which means "to steal." In short, to be stealthy in the Middle Ages implied you were stealing things (stealth was, basically, the act of stealing), and if you were stealing things you'd want to be as quiet and sneaky as possible.

Of course, this all seems pretty obvious and straightforward, and that's exactly why one would think that a person involved in stealth, and stealing, would be pretty obvious and straightforward herself. But even if our thief does have only one face, we still have to deal with all those other names I mentioned before. And in doing so, we have to wonder how it is that the common thief managed to become so revered in fantasy literature and the world of role-playing.

It's pretty clear why our warrior archetype exists: the history of the world is filled with marauding bands of savage warriors, noble knights and dashing mercenaries, swinging swords and hurling axes. And if we dip into the realm of mythology and fantasy, it becomes clear why we have wizards and enchanters and clerics and priests among our role-playing types, since these are the sorts who dabble in the very stuff of fantasy: magic, the arcane, the unknown, the fantastical, the divine.

So why on earth did the common thug become so darned important? Why did the pickpocket take his place beside the paladin? Why does our crook cavort with our cleric, our swindler with our sorcerer? And more importantly, why is this sort of person considered a hero? Why do we crown our criminal, and rejoice over our robber's exploits?

How did our thieving pauper became a prince of thieves?

Thieves in old school D&D art

To thieve or not to thieve – The Role-Playing Thief

"Fight and steal for yourself, or join a powerful thieves' guild to reap the benefits of membership. . . . Learn how to pick locks, set traps, move without being seen or heard, scam people out of their hard-earned money, seduce and beguile marks, make counterfeit art pieces, and anything else those wickedly devilish rogues enjoy doing." – Cutthroat: The Shadow Wars, by Storm World Games

Even a brief glance at the thief archetype gives you a pretty clear indication of how it's built: the thief is exactly the sum of its parts, no more, no less. Whether called thief or robber, highwayman or burglar, in almost all cases, the thief archetype rests upon two pillars, right in line with the definition of "thief" as explored above:

1. The ability to take things from others. (i.e., stealing). The traditional skills associated with this "pillar" include such things as picking locks, detecting and disarming traps, picking pockets and climbing walls. One might also include here the ever-present backstabbing ability of the thief, which could be loosely interpreted as the ability to take the life of another, with great skill.

The first half of the equation also demonstrates exactly why it is that the role-playing thief is always associated with Agility and Dexterity. Certainly, as history demonstrates, those who take things from others occasionally do so by brute force, be that with a carefully aimed pistol or with the business end of a heavy cudgel. But this is not typically the sort of thief that we find ourselves looking at as an archetype. Our thief is agile and nimble, able to tumble and leap and climb, fingers flashing as he picks and unlocks and disarms his way along. Those who will steal will need to be agile to succeed. It's as simple as that.

2. The ability to do so quietly. (i.e., stealth). Skills typically falling into this category include things like moving silently, hiding in shadows and the oft-forgotten ability to detect faint noises (thus allowing one to conceal oneself after hearing the guards approaching). Though not a skill, per se, the ability to speak the language of thieves (i.e., Thieves Cant) also falls into this category, since aside from the code language it also involves silent hand gestures.

This second half of the equation also helps explain why thieves are traditionally associated with certain types of weaponry and garb. Obviously, if one is going to remain stealthy, one has to work with tools that aren't noisy or flashy or cumbersome, and so it's little wonder that most thieves find themselves wrapped inside a hooded cloak, armored with leather and padding, sans metal. And unlike the cleric, whose blunt weapons are only partially explained by historical evidence, the thief's choices and restrictions are explained easily by common sense. Our rogue will obviously choose weapons that are easily concealed, such as the dagger, short sword, sling, club and dart. More importantly, these are the weapons of the common man, easy to come by, easily and cheaply replaced (if left behind in a scramble for the exit when discovered by the guards), and inconspicuous if carried around the village, no matter what time of day. Your warrior striding into town with his bastard sword strapped to his back is certainly going to draw a few stares, but nobody bothers to notice the little guy with the dagger. A common thief is just that; common enough to blend in.

Speaking of little guys, one has to at least mention the apparent prejudice that accompanies the role-playing thief along his journeys. From the very start, the fantasy race most often associated with thievery has been the Hobbit, more commonly known nowadays as the Halfling or, in Dragonlance circles, as the Kender. The reasons for this are clear: all of the thiefly abilities are more easily done by individuals of smaller, lighter stature. A big hulking beast of a man is not going to be able to sneak up out of the shadows and stealthily snatch your wallet. But a small, agile little guy could easily do this, and more, without your noticing. Thus, it's obvious that the short, nimble races will make better thieves. Once again, our simple thief applies common sense to a simple problem, and comes up with an obvious answer.

As an aside, the term "Hobbit," as you may or may not be aware, was quickly tossed aside by much of the Role-Playing industry in the early days of Dungeons & Dragons, due to some differences over copyright with the Tolkien estate. We'll explore more of that next month, when we take a look at Halflings, but it's still a nice place to segue into the Literary origins of the Role-Playing Thief, for whom we almost exclusively have Tolkien to thank.

Like a thief in the night – The Literary Thief

The Hobbit: The Desolation of Smaug (2013)

"'Yes, yes, but that was long ago,' said Gloin. 'I was talking about you. And I assure you there is a mark on this door -- the usual one in the trade, or used to be. Burglar wants a good job, plenty of Excitement and reasonable Reward, that's how it is usually read. You can say Expert Treasure-Hunter instead of Burglar if you like. Some of them do. It's all the same to us.'" – The Hobbit, Chapter I, J.R.R. Tolkien

Let's not get ahead of ourselves; certainly, thieves had been around in literature for a long time before Mr. Tolkien decided his band of warrior dwarves needed a thief among them. Take a step back into Greek mythology and we find numerous thieves, including some of divine stature. Hermes is the God of tricks, messengers and thieves, so accomplished a thief that he stole his elder brother's cattle right from under his nose while he was still an infant. And not only is Hermes the God of Thieves, but he's also the Divine Herald, and as such is responsible for leading the dead down to the underworld of Hades. Even Hermes' son, Autolycus, inherited his father's thievish abilities, not only renowned for repeating the cattle-stealing trick, but for teaching Heracles to wrestle, and siring the father of the great hero, Odysseus.

And if that's not a tangled enough web for you, consider that Autolycus is also known for stealing from a man called Sisyphus, himself a thief, who winds up in the afterlife eternally pushing a stone up a hill, only to have it roll back down. And then there's Prometheus, rescued by the aforementioned Heracles after he was sentenced to eternal torture for (what else) stealing fire from the Gods. The ultimate bit of thievery, and the ultimate punishment for the task.

The notion of the thief stealing his way into Hell itself is echoed again in the epic Beowulf, where, after the bit with Grendel and his mother, we meet a thief who wanders into a dragon's hoard and steals a cup. This, of course, enrages the dragon, who starts laying the smackdown on neighboring villages, requiring Beowulf to come out of retirement to take care of business. Beowulf and the dragon take each other out, of course, but the point of all this is that it's the thief who wakes the dragon, the ordinary rogue who, through his stealthy deed, brings fire and brimstone down not only on himself but on those around him as well.

"Then Beowulf came as king this broad realm to wield; and he ruled it well fifty winters, a wise old prince, warding his land, until One began in the dark of night, a Dragon, to rage. In the grave on the hill a hoard it guarded, in the stone-barrow steep. A strait path reached it, unknown to mortals. Some man, however, came by chance that cave within to the heathen hoard. In hand he took a golden goblet, nor gave he it back, stole with it away, while the watcher slept, by thievish wiles: for the warden's wrath prince and people must pay betimes!" – Beowulf, Chapter XXXI

This, of course, brings us right back to Tolkien's The Hobbit, wherein a wizard and a band of 13 dwarves hire a hobbit named Bilbo Baggins to be their party's robber. Why do wizards and warriors need a thief? Because he can be stealthy, naturally... albeit not quite stealthy enough. After numerous adventures wherein the stealthy and clever thief saves his cohorts from capture and certain death, it all comes right back to a thief stealing a cup from a dragon, thus enraging the beast and bringing fiery doom upon the neighboring town of Esgaroth.

"He gazed for what seemed an age, before drawn almost against his will, he stole from the shadow of the doorway, across the floor to the nearest edge of the mounds of treasure. Above him the sleeping dragon lay, a dire menace even in his sleep. He grasped a great two-handled cup, as heavy as he could carry, and cast one fearful eye upwards. Smaug stirred a wing, opened a claw, the rumble of his snoring changed its note." – The Hobbit, Chapter XII, J.R.R. Tolkien

The Hobbit, of course, first appeared in 1937, followed by quite a large gap before we'd see more Hobbit thieves in The Lord of the Rings in 1954. But once Tolkien's mythology began to seep into the consciousness of fantasy writers, we began to see a renewed interest in the thief archetype in other pieces of literature and film. In all of these, the "dragon" (whether a literal or a figurative evil) is well recognized as a symbol of Satan, of the underworld, of the fiery doom that lies beneath our feet, and in each case it's the Warrior who puts the beast to rest and saves the day. But Saint George can't ever do it alone; there's always a thief along for the ride, to poke the dragon in the ribs and get things moving.

Fafhrd and the Gray Mouser, by Michael Whelan

The most well known example of a warrior-thief pairing is undoubtedly Fritz Leiber's Grey Mouser, who accompanied his warrior friend Fafhrd throughout a series of stories beginning with 1939's "Two Sought Adventure" (also known as "The Jewels in the Forest"). It's also Mr. Leiber that we have to thank for the concept of the multi-classed thief (Mouser is clearly a Thief/Wizard, and Fafhrd a Warrior/Thief) and the magic-reading thief, as well as the concept of the Thieves' and Assassin's Guilds (the famous pair actually meet in Lankhmar while separately attempting to rob the same Thieves' Guild).

It's been widely accepted that it's these stories (along with a hefty dose of Robert Lynn Asprin's late '70s Thieves' World stories) that form the basis of the role-playing thief class, which appeared as early as 1976 in the Dungeons and Dragons Greyhawk supplement. Since those days, not much has happened from a literary perspective to change the thief; from Gord the Rogue to Tasslehoff Burrfoot, everyone goes back to the same framework to build their little hero. But there's a lot more to the thief than we'll find in the black and white of the paperback pulp novel, anyway; it's on the silver screen that we learn a little bit more about what happened to the thief in that 40 year gap between the late 1930s and the late 1970s.

Opportunity makes the thief – Hollywood's Age of Thieves

The Thief of Bagdad (1940)

The most prominent Hollywood thieves of the 1940s and '50s come in the guise of the Arabian beggar boy and a deposed English noble with a penchant for green tights. The latter we can simply name – Robin Hood – for you know his story and his name well enough, and he's enough of a type that his name remains the same almost every time he appears. But the former is a more interesting case, for he's been named and renamed; much like our thief archetype, he only has one face, though he has many names.

In 1940's The Thief of Bagdad (sic), our thief appears as Abu (played by an actor named Sabu). Introducing himself as "Abu the thief, son of Abu the thief, grandson of Abu the thief," he makes it quite clear what sort of an archetype we're getting; the thief here is even more obvious than the wicked evil bad guy, The Grand Vizier, Jaffar, or the vanquished prince Achmad, or even the powerful Djinni. Abu is a happy-go-lucky robber, portrayed as pure of heart and intention despite his criminal nature. He steals to survive, not because he wants to, and by the film's end he's stolen his way into a great position of power. If all of this sounds familiar, by the way, that's because it is: Disney "borrowed" the storyline for their animated Aladdin, turning Robin Williams into the Genie and Abu into a thieving little monkey.

Our streetwise, heroic thief appears again in 1942's Arabian Nights, which features a whole troupe of thieves, actors and acrobats who help put the deposed prince back on the throne, vanquishing the evil ruler in the process. Once again, the most clever thief-acrobat of them all is Ali Ben Ali (played again by Sabu), a nimble little streetwise beggar-boy who controls the flow of the action through his own interactions with others. And he's back yet again in 1944's Ali Baba and the Forty Thieves; even though Ali Baba himself is now a thief, and the entire band of 40 thieves are all thieves, Jamiel (played this time by Turhan Bey) is once again portrayed as the cleverest, most agile and most heroic of them all.

This is hardly the end of the story: the Ali Baba/Arabian Nights story was told and retold dozens of times between 1920 and 1960, with the same characters, the same names, and the same archetypes (witness 1952's Son of Ali Baba and 1954's Ali Baba And The 40 Thieves) over and over again. The point of all this being that by the time Hollywood got a hold of the thief in the '20s and '30s, the archetype was already being twisted over to the side of good. When you consider how criminals and thieves were being portrayed in the detective films of the time (where the cops were the good guys and the robbers were always the bad guys), it becomes pretty clear that what we've got is the rise of the popular notion of the heroic fantasy thief, sidekick to nobility.

[N.B. Hollywood didn't twist the archetype to good, Hollywood made it bad (the only reason "cops were the good guys and the robbers were always the bad guys" is the bloody Hays Code) and then kinda course-corrected, for a span, when it started drawing from the source: Arabic literature features sympathetic rogues from the 9th century all the way through the Arabian Nights. When the Spanish picaresque novel introduces the archetype in Western literature, it's already a social critique, where the little thief steals and swindles in self-defence and is applauded for it. On stage, England gives us The Roaring Girl and The Beggar's Opera. And the novel, from France to Russia, had nothing but sympathy for little thieves.]

The concept of the ignoble thief and the noble warrior as partners in crime and in heroism is found throughout science-fiction and fantasy film. In 1977's Star Wars, future Jedi Knight Luke Skywalker needs assistance from scoundrels Han Solo and Chewbacca. In 1983's Krull, Prince Colwyn needs help from a band of thieves and outlaws to save the kingdom from destruction. In 1985's Ladyhawke, Matthew Broderick's Phillipe Gaston (aka The Mouse) is the one who allows the noble Captain Etienne Navarre to defeat the evil priest and save the day. And so on.

The Adventures of Robin Hood (1938)

But in many cases, our thief is also something more; consider that in the original story of Ali Baba and the Forty Thieves, Ali Baba isn't one of the 40 thieves, but by 1942, he's not only a thief, but a hero as well. This notion of "thief-as-noble-hero" (especially of the common man) is even more evident in the timeless story of Robin Hood. You know the tale: deposed nobleman heads off into Sherwood forest to live amongst a band of thieves and outlaws, stealing from the rich to give to the poor. [N.B. The OG Robin Hood was a commoner and the "deposed nobleman" variant came later, though Hollywood ran with that one.] Obviously the tale goes back to Medieval times, but it's interesting to note that it's during this time period (the first half of the 20th century) that we find no fewer than a dozen movies about Robin Hood. Ignore the green tights and the woodland setting, and our acrobatic Robin (archetypically played by people like Douglas Fairbanks and Errol Flynn) is clearly just another version of Abu/Sabu/Ali, the pauper and the prince rolled into one. Instead of being a mere sidekick to a deposed prince he is a sidekick to himself, a thief and a prince (and as 1991's Kevin Costner demonstrated, a Prince of Thieves). The thief no longer accompanies nobility; he is himself noble. Even Conan the Barbarian, the would-be king in the film of the same name, starts off his career not as a warrior, but a thief.

This, of course, is interesting to role-play and fun to watch. It's also complete and utter nonsense from a historical perspective. Legends have grown up about noble, honest thieves being heroes of the people, but when you consider that even the noble Medieval knights tended to be dirty, crude, backstabbing mercenaries, you can imagine what the thieves of the time were really like. Still, it's out of reality that our role-playing thief's qualities were drawn, so to truly understand where our archetype comes from we have to go back beyond Robin Hood and Bilbo Baggins, back into history itself. To understand the prince, we have to understand the pauper first.

Thieves in every city, rats in every house – The Historical Thief

Quite obviously, thievery has been around since the dawn of recorded history; from The Ten Commandments to the Code of Hammurabi, laws against thievery have been set in stone. But it was truly the Medieval Era which saw the development of a culture that would give us the sort of thief we know and love.

First of all, it's necessary here to be clear in our definition of a thief. For example, we are not looking for Egyptian tomb robbers; the notion that thieves skulked around in cursed, trap-filled tombs to carefully steal mounds of gold from mummy-occupied sarcophagi is almost entirely without precedent. Certainly, the people who took riches from the tombs were thieves of a sort, but in many cases the tomb robbers were either the very priests and workers who'd built the tomb in the first place, or were citizens operating under the advisement of government officials, or around the grasp of those who either weren't strong enough, or didn't care enough, to try and stop them.

No, the historical thief that we are looking for must rely on stealth, not the sword, to do his dirty deeds. Certainly, Medieval highways and forests were filled with highwaymen, robbers, outlaws, thugs and bandits, most of them mercenaries or soldiers or something in between. But these people were certainly not thieves as we are attempting to define them; blockading a road and beating passers-by senseless is not thievery, but thuggery. One could argue that I've broken precedent a bit above in discussing Hollywood's version of thieves (most notably with Robin Hood), but even in these cases we get the notion of stealth, of stealing away into shadowy forests and crowded city streets (in the case of our Arabian thief).

And what, indeed, were those streets like? Certainly, Medieval European towns were a perfect breeding place for criminal activity. Streets were narrow, houses and shops built close enough together to create a veritable highway on the rooftops. Road construction was mostly a process of building a new road on top of an old one, so that in some places doorways wound up 10 or 20 feet below street level as the road rose around them, creating basements and dark corridors for thieves to lurk in. Up until the 16th Century, buildings were mostly made of "wattle and daub" (basically branches and plaster), making them relatively insecure at best; even considering that cutting a hole in the wall would be inconvenient, doors were typically unlocked, when there were doors at all.

To be certain, locks of one sort or another have been around since almost prehistoric times, and they were present during the Middle Ages, but your common thief would not often be found skulking about the city, picking locks in the shadows; there were simply not enough locks around to make a habit of it. [N.B. Lockpicking is definitely overplayed in how we imagine thieves of the Middle Ages, but it wasn't unheard of. Plus, D&D isn't really Medieval, and lockpicking becomes more prominent in the early modern period.]

Being stealthy, and being able to hide in the shadows and move with relative silence, were almost certainly more useful skills, however, and the most skilled thieves of the Middle Ages certainly practiced these arts. Once again, this is a matter of common sense; Medieval homes and businesses typically had floors covered in straw (whether for sleeping on, or for sopping up nasty fluids), and anyone sneaking around a house amongst two sleeping adults, three restless children, two dogs and a goat had better be a stealthy fellow.

This is an exaggeration, of course; more often, the stealthiness was saved for after the smash-and-run job, for when the thief needed to get away quickly and hide from the angry mob of villagers, watchmen and dogs who were certainly in hot pursuit. Constables and "night watches" composed of citizens patrolled the city streets after curfew (about 8 or 9 pm), as much on the lookout for fire as for crime. At the site of danger or trouble, a "hue and cry" would certainly be raised, and citizens (at least in theory) would spill out of their homes to join in the chase.

Even if not engaged in criminal activity, merely wandering around after curfew would be cause for detention and arrest; carrying weapons and skulking around in the shadows was against the law, and any thief caught lurking in a corner, dagger in hand, mask on face would certainly be forced to run when the watch came around.

The thief would have good reason to run, too; Medieval justice worked quite differently than many think, with laws varying widely from country to country, and city to city. In a best case scenario, the unlucky thief would find himself banished from the city, and quite often, this "punishment" was self-inflicted; as many as 99% of all murderers and thieves got away from their pursuers and fled into the forests and onto the highways (without a doubt the source of the idealized thieves and robbers in tales like that of Robin Hood and his Merry Men).

In a worst case scenario, the unlucky thief would almost certainly find his career at an end. There was no such thing as prison back then; "prisons" were simply holding cells, where the accused were held until trial and/or punishment. In severe cases, the thief might find himself put to death by hanging; in less extreme instances, he would almost certainly be branded or mutilated in some way, often through the loss of a hand and/or his testicles; even the unluckiest pickpocket could only be unlucky twice in his life, either way you cut it (pun intended).

Of course, the Medieval thief who found himself thus crippled could always turn to other related professions. With the minting of coin money came the opportunity to "clip" coins, by shaving the edges of valuable metals and creating new money from old. This was closely related to the art of counterfeiting and forgery, since it often involved the duplication of official molds. In some cases, it was easier to skip the money altogether and go for the gusto, by doing things like counterfeiting the King's seal, and using the false seal to acquire land and property from unwitting fools. For those who preferred to not get their hands dirty directly (assuming they had hands left at that point), there were always opportunities to play "Uncle," by fencing goods for other more able-bodied or foolhardy thieves.

The most common alternative to "traditional thievery," however, was certainly begging. The Middle Ages were rife with the impoverished, and for most that meant a life of begging for scraps on the streets. Beggars were a mixed bag; some were certainly inflicted with some ailment or other which left them with no option but to beg, but a great many were certainly capable of work and were just taking the easy (and dishonest) way out. [N.B. Oh yes, how dishonest, faking an ailment to beg efficiently when you are homeless and unemployed because the system is fucked and no one will house you or hire you. Fuck off.] Laws were passed which punished any beggar found to be capable of work; the punishment was often the same as that for a captured thief, rendering the beggar disabled and giving him a good reason to be begging thereafter.

Vagrancy, and the problem of beggars, became even more of a problem in 1666, when the London Fire, fueled by pitch-covered, thatch-roofed buildings, destroyed roughly 80 percent of the city. In rebuilding, the older homes were replaced by sturdier (and incidentally, more secure) buildings of stone, brick and shingle, but this fire did more than destroy a city; it also helped fan the flames under the feet of the thief, at once plunging most of London into extreme poverty, and rebuilding a city around those people that would truly be a perfect breeding ground for groups of thieves and pickpockets... more commonly known as guilds.

Honor among thieves – The Thieves' Guild

Guilds existed throughout the Middle Ages, with most of them being composed of merchants of one sort or another. Guilds ruled with an iron fist within their own realms, and certainly it would have been almost impossible to do business within a city if you were not a member of the guild whose trade you practiced, whether you were a bricklayer, a carpenter or a barber. Among the craft guilds, there was even designation within the ranks between new members, Apprentices (who mostly received food and lodging in exchange for work), Journeymen (or Journee-men, "journée" being French for "day"; in other words, those who were paid by the day for their work) and, of course, Masters (who could own their own shops and hire Journeymen and Apprentices on their own).

The concept of Guilds for Beggars, Thieves and Assassins has been debated back and forth for years. There are those who argue that the existence of Thieves Guilds is entirely a construct of fantasy authors (primarily Fritz Leiber and Robert Lynn Asprin) which has no basis in historical fact. There are also those who present historical cases for the existence of these very guilds. In my estimation, both sides are correct... in their own way. [N.B. See here for Thieves' Guilds.]

Let's take the first argument first – that Thieves Guilds did not exist, because they could not have existed. Certainly, in early Medieval society, it would have been nigh on impossible for a group of thieves to organize themselves, in secrecy, and rule with an iron fist over the nocturnal world. The very notion of a thick-walled warehouse, laden with traps and toxins to keep out the Night Watch, is ridiculous due to the fact that for much of the Middle Ages, such buildings were rare, at best. Homes were hovels, businesses little better, and any band of Thieves attempting to set up a guild of their own in the building down the street would be run out of town. An angry mob with torches in hand is no match for any size Thieves Guild.

Thieves and criminals looking to hang out and talk shop would typically be found in taverns, brothels and other Houses of Ill Repute, whether in the main room or in some secret back room where stolen goods could be fenced. As early as the late 13th Century, the City of London established laws which forbid taverns to remain open after curfew, precisely because of criminal activity therein. [N.B. "Criminal activity" here includes talking shit about the government.] But even these were certainly not secure locations to gather; taverns which ignored the law would be subject to nocturnal visits from the watch and, if need be, shut down entirely. Medieval governments were certainly not shining beacons of justice, but neither were they entirely corrupt; thieves were no more tolerated than murderers.

On the other hand, there is certainly historical precedent for exactly the sorts of guilds that would apparently be difficult, if not impossible, to set up. In Andrew McCall's The Medieval Underworld (1979), two clear 15th Century examples are given which can be called nothing less than organized Thieves' and Beggars' Guilds in France. [N.B. And they are both grossly exaggerated in the sources, if not completely made-up.]

The first is that of the group known as the Coquillards, a Mafia-like group of thugs, robbers, thieves, counterfeiters and other villains who were responsible for a crime spree throughout northern France in the Mid-15th century. The most renowned of their member, one François Villon, could almost be the archetype of the swaggering, romanticized thief; a poet and philosopher, he not only participated in thievery (being repeatedly arrested for same), but he often wrote about it in verse which became wildly popular across the countryside. The Coquillards were known for, among other things: lockpicking, fencing stolen goods, cheating at gambling, and a peculiar means of communicating with one another in what can only be called a French Thieves' Cant. The group also boasted membership in several cities under several different leaders; in one case, the leader of the Thieves was known as the "King of the Coquille". [N.B. We now can tell with some certainty that the "crime spree" of the Coquillards was a moral panic that sent a bunch of random people to the gallows in Dijon. François Villon was really part of the Parisian criminal underworld, but it wasn't some super organised network even in Paris, much less across other cities. He did write poems in argot, though.]

The second example is that of the Cours des Miracles, or the "Court of Miracles", overseen by the Grand Coesre, or "King of Beggars." This group also operated in numerous places throughout France, with local groups overseen by Cagoux, who in turn looked over Archisuppots, who in turn were responsible for training new recruits. Within this tightly organized hierarchy was a carefully constructed system of rules which allowed the group to, among other things, collect "protection money" from its subjects, commit carefully orchestrated acts of robbery and begging, and to deal with any outside freelancers who attempted to operate within controlled areas. Even within the lowest ranks of the Guild there were delineations between types of beggars: for example, those who would pretend to have been robbed were called Marcandiers, and those who would pretend to be suffering from sores were called Malingreux. [N.B. Other than the argot terms for various types of beggars, who certainly didn't have a King, this is all made-up. See here for the Court of Miracles.]

Although other countries seem to have lagged behind in organizing such large Guild-like groups, it's pretty clear that organization of some sort did exist... it's simply a matter of when. Certainly, by the time Charles Dickens gave the world Oliver Twist in 1837, London was being assaulted from within by organized groups of pickpockets, thieves and beggars who made their homes on Field Lane and Chick Lane. Master Thief Fagin, the Artful Dodger Jack Dawkins, and apprentice pickpocket Oliver Twist were not mere creations of literary fancy, but very real reflections of what life was like in that era. Closer to home, consider the organized gangs of thieves and murderers in the Middle East and Russia, or the Yakuza in Japan, or the Mafia in Italy and the United States. There may not have been global precedent for the Thieves Guild in medieval times, but such groups have existed almost as certainly as the thieves themselves have.

The big thieves hang the little ones – (In)famous Thieves

It's quite easy to compile a lengthy list of historical, pseudo-historical and fictional thieves, but it's also important to distinguish between them.

Pirates:

Quite obviously, the thing that makes a pirate a pirate is water, and a ship on the water, and the pirates on the ship. Aside from that, it's pretty easy to see how a well-run pirate ship is akin to a Thieves' Guild. The thing to keep in mind here is that in almost every case, the pirate met a bloody end at the hands of his or her pursuers. It's certainly not a good career for anyone hoping to settle down and start a family.

For some good historical examples, check out people like Anne Bonny, Henry Morgan, Calico Jack Rackham and Captain Teach (aka Blackbeard). For a bit more fantastical look at a pirate type, look no further than Han Solo; if the Millennium Falcon isn't a pirate ship, I don't know what is.

Highwaymen:

Are they thieves or are they warriors? Hard to say. Robin Hood (we'll call him pseudo-historical, since he was almost certainly based on real people) certainly falls closer to the thief category because he did a lot more skulking and stealing than he did actual fighting. In general, your highwayman takes things from others by force, operating in teams or groups that then do a good job fencing the goods they've taken. There's not a lot of picking locks, but there's certainly a lot of stealing.

Look for more information on historical highwaymen like Robin Hood, Fouke Fitz Waryn, Eustache the Monk, Dick Turpin, Will Plunkett and James Macleane, or pseudo-historical folk like Robin Hood and the Scarlet Pimpernal.

Robbers/Burglars:

Robbers and Burglars are thieves who take a somewhat more direct approach to their thievery, often breaking and entering with force into secured or semi-fortified locations to obtain items of value. Thieves are typically lighter on their feet and less inclined to violence, but the robber is about as close to a Fighter/Thief amalgam as you're likely to find.

Look online for more details about folk like Richard Pudlicott, Jesse James and not-so-historical people like Indiana Jones and Lara Croft. The best literary example is undoubtedly Bilbo Baggins.

Thieves:

As I've stated above, the central focus of the true archetypal thief is stealth. Thieves move without being seen, take things without others noticing, and generally have a "get in, get out, get out of there" mentality. Their fondness for avoidance of capture also makes them inclined to pursuing indirect means of thievery when possible, such as gambling, fencing (of stolen goods) and disguise.

By far the single most important historical (possibly pseudo-historical) thief is François Villon, who I discussed briefly above and about whom enough cannot be written here. Literary examples of note are folk like Gord the Rogue and Thieves' World's own Shadowspawn.

Assassins, Acrobats, etc.:

What, you expect me to do all the work for you? Open up a browser window and get looking! There are thousands of thieves out there just waiting to be discovered. Just do yourself a favor and avoid the Dungeons & Dragons movie; it's quite possibly one of the best examples of how thieves did NOT really operate in the real world. Filled with silly swordplay, massive stone Thieves' Guilds filled with gigantic trap-filled mazes and annoying characters, it's a perfect example of how archetype can easily cross over into stereotype. And if there's one thing a thief hates, it's being stereotyped.

The thief archetype obviously has its roots in some sort of reality, but for the most part, as one might expect, those bits of reality have become over-romanticized, thanks in part to fantasy writers and Hollywood blockbusters. But that's certainly not all a bad thing. The thief gives us a chance to play someone closer to heart, someone who's not strong or possessed of magical talents, someone who has to rely on wit and stealth to survive. Someone, we can imagine, who might very well be just like us. And in being more like us, it's clear that the thief is not just a column of percentile chances to pick locks and disarm traps; she is blessed with as many different skills and appearances as there are crimes to be committed. And that's quite a lot.

The point of all of this, then, is to acknowledge that while there is obviously a central thief archetype, history and literature have shown us that not all thieves skulk in shadows with poisoned daggers, waiting for the perfect moment to sneak in for a backstab on their unsuspecting victim...

Hey, what's that behind you?

[source: from the series "Archetypology 101: Fact, Fiction, & Fallacies" by Aeon, in rpg.net]

[ocombatente]

China habilita 38 frigoríficos brasileiros para exportar carne um em RO, Frigorífico Rio Machado - Ji-Paraná

Esse é o maior número de plantas autorizadas de uma só vez na história; JBS é a empresa com mais aprovações nesta rodada Antes dessas autorizações, o Brasil tinha 106 plantas habilitadas para a China: 47 de aves, 41 de bovinos, 17 de suínos e 1 de asininos. Agora, são 144 unidades no total. Recentemente, a China retirou a medida antidumping que era aplicada desde 2019 às exportações brasileiras de carne de frango. O mecanismo sobretaxava os negócios entre 17,8% e 34,2% conforme a empresa exportadora. Novo marco entre os países   O ministro da Agricultura, Carlos Fávaro, afirmou que o anúncio da habilitação de 38 novos frigoríficos para exportar carnes para a China significa um marco na relação bilateral entre os dois países. "O governo da China acaba de anunciar o estabelecimento de 38 novas plantas comerciais de carnes brasileiras para comercializar com aquele país. É um recorde histórico, um momento muito especial", disse em postagem nas redes sociais. Fávaro agradeceu ao governo da China pela "confiança estabelecida" na relação com o Brasil. "Esse é um momento importante para os dois lados. A China vai receber carnes de qualidade, com preço competitivos, com a garantia dos produtos à sua população e a certeza que vai ampliar suas relações comerciais com Brasil também, vendendo produtos chineses à nossa agropecuária", disse o ministro. "Esse é um dia histórico para a relação Brasil-China, um dia histórico para a nossa agropecuária". O ministro ressaltou que a participação do presidente Luiz Inácio Lula da Silva foi importante para as habilitações por conta do "tratamento especial que dá à diplomacia" e por ter "estreitado laços comerciais com a China". Setor comemora   A Associação Brasileira de Proteína Animal (ABPA) comemorou o anúncio da habilitação de novas unidades frigoríficas de carne de frango e entrepostos frigoríficos para exportar para a China. "É o maior incremento de habilitações de aves já realizado pela China, após cinco anos sem novas unidades autorizadas. As habilitações são fruto dos esforços conduzidos com competência pelo Ministro da Agricultura, Carlos Fávaro, e sua equipe, além do Ministério das Relações Exteriores e demais órgãos do Governo. São, também, um importante reconhecimento da China ao trabalho realizado pelo Brasil”, destacou, em nota, o presidente da ABPA, Ricardo Santin. Agora, o Brasil conta com 55 plantas de aves habilitadas para exportar para a China e quatro entrepostos frigoríficos. "Há boas expectativas sobre o desempenho das vendas brasileiras para o país asiático com estas habilitações, especialmente porque novos grupos empresariais terão pela primeira vez acesso a este importante mercado. A China é o principal destino das exportações brasileiras de carne de frango, com 10% de todos os embarques realizados pelo setor no primeiro bimestre deste ano", analisou o diretor de mercados da ABPA, Luís Rua. Veja a lista dos frigoríficos habilitados:   Bovinos JBS - Santana do Araguaína (PA) JBS - Naviraí (MS) JBS - Confresa (MT) JBS - Alta Floresta (MT) JBS - Marabá (PA) JBS - Campo Grande (MS) - SIF 4400 JBS - Campo Grande (MS) - SIF 1662 JBS - Pimenta Bueno (RO) JBS - Diamantino (MT) JBS - Pontes e Lacerda (MT) Minerva - Araguaína (TO) Minerva - Janaúba (MG) Marfrig - Bataguassu (MS) Beauvallet Goiás Alimentos - Inhunmas (GO) Prima Foods - Cassilândia (MS) Prima Foods - Santa Fé de Goiás (GO) Mercúrio Alimentos - Xinguara (PA) Frigorífico Tavares da Silva - FTS - Xinguara (PA) Better Beef - Rancharia (SP) Boa Carne - Colider (MT) Boibras - São Gabriel do Oeste (MS) Distriboi - Ji-Paraná (RO) Pantaneira - Várzea Grande (MT) Frigorífico Rio Machado - Ji-Paraná (RO) Pampeano - Hulha Negra (RS) Aves Seara - Santo Inácio (PR) Aurora - Guatambú (SC) BRF - Chapecó (SC) Dip Frangos - Capanema (PR) Jaguafrangos - Jaguapitã (PR) Avenorte - Cianorte (PR) Cooperativa Languiru - Westfalia (RS) Plusval - Umuarama (PR) Entreposto de produtos de origem animal Seara - Itajaí (SC) - aves e suínos Aurora - Itajaí (SC) Cotriguaçu - Cascavel (PR) Martini Meat - Rio Grande (RS) com informações Globo Rural Read the full article

[baloncudayi]

Tutkularının Peşinde

Çiçeksi & Şipre

Üst Nota: Mandalina, Yasemin ve Ahududu

Kalp Notası: Pembe Gül ve taze Portakal Çiçeği

Dip Nota: Vanilya, Sandal Ağacı ve Paçuli

Romantik turunçgil notalarının yer aldığı Chase Me, büyüleyici, tutkularının peşinde ve akılllardan çıkmayacak bir kadını anlatıyor

[thinkinpoetry]

🇺🇸: [the little boy stares at the moon.

and thinks about his lies and his truths.

he plays a record his mother used to like,

and he braces his knees and starts to cries.

the little girl stares at the record player,

in the corner of the room.

she spots the boy, but not so soon.

and she dips her head and examines the wounds.

he takes a shower and breathes.

he shaves his beard and breathes.

he had his dinner and he breathed.

all a mess of anger and sorrow, lost before it got to his lips.

the little girl watches him fall asleep in her hair,

and she becomes his house, his home, his own to bare.

and he knows at least she cares...

and the little boy at the moon stares.]

—by lunie.

🇧🇷: [o garotinho olha a lua,

e pensa sobre suas mentiras e verdades cruas.

ele toca uma música que sua mãe gostava,

não percebeu, pobre coitado, que chorava.

a garotinha olha o rádio,

do outro canto do quarto.

ela percebe o garoto, mas não tão rápido.

e ela nota também, que ele está pálido.

ele toma um banho e respira.

faz a barba e respira.

jantou e respirou.

inteiro confusão de raiva e dor, mas nada ele falou.

a garotinha olha ele dormir antes de bocejar,

e ela se torna sua casa, seu lar, sua para amar.

e ele sabe que pelo menos ela se importa...

e o garotinho a lua olha.]

—por: lunie.