#telegrams from the high wilderness

[dreamsofdeathbywater]

Okay I think it would make everything worse but I want these fucked up vampire men and Danial to be in a polyamorous relationship before the end of the show. It will fix none of their problems but it would be the ideal entertainment for me personally.

[dreamsofdeathbywater]

Talia the Watcher of Caed Nua, Roadwarden, Hound & Herald, Alchemist, Seer of Souls...... Not renowned for their art skill but a self portrait is a good a place to start trying right?

They quit trying in less then a week

[yhwhrulz]

Worthy Brief - October 2, 2024

Choose to do something new this year!

Isaiah 43:18-19 Do not remember the former things, Nor consider the things of old. Behold, I will do a new thing, Now it shall spring forth; Shall you not know it? I will even make a road in the wilderness And rivers in the desert.

As we celebrate the High Holy Days of Rosh Hashanah or Yom Turah (Feast of Trumpets) tonight, we enter into a new season. Rosh Hashanah traditionally marks the Jewish New Year. "Shanah" is a unique Hebrew word meaning "to repeat, revise, or go over again." As we begin the new year, with fall, then winter, spring, and summer, we remember the cyclical pattern of time in God's creation. The nature of life is to repeat itself -- to continue in a cycle, marked by Rosh HaShannah -- a New Year. Although time is moving in a direction toward a definite destiny determined by the Creator, it does so in cycles … truly, "what goes around comes around."

However, "Shanah" does not only mean "to repeat" -- but also "to change" …

So, entering this new year, a fresh cycle, we may also grasp the opportunity to change, to do something radically new and different. New beginnings are a time for new choices, new experiences, new hopes, and dreams. Can we allow this season to inspire the desire for new experiences and initiatives in God? Can we choose to pray for, expect and act within the divine order of a new cycle … break out of the "same old -- same old" and choose to believe in His power to do exceedingly abundantly more than we could ask or imagine? The new season beckons us to this…

If we believe that our Lord is really on top of things, if we believe that He can even redeem our mistakes, then we ought to be filled with expectation for change, great change in our lives, by His divine power to work in and through us. Entering this new season can inspire a choice in faith, to love and serve with greater devotion than ever, perhaps in ways we have only dreamt of. A new year is upon us. Let's choose change -- for He will "do a new thing."

Your family in the Lord with much agape love,

George, Baht Rivka, Obadiah and Elianna (Baltimore, Maryland)

Editor's Note: Feel free to share any of our content from Worthy, including Devotions, News articles, and more, on your social platforms. You have full permission to copy and repost anything we produce.

Editor's Note: During this war, we have been live blogging throughout the day -- sometimes minute by minute on our Telegram channel. https://t.me/worthywatch/ Be sure to check it out!

Editor's Note: Dear friends — we are now booking in the following states. Alabama, Tennessee, North Carolina, South Carolina, Georgia, and Florida! If you know Rabbis, Pastors or Leaders who might be interested in powerful Israeli style Hebrew/English worship and a refreshing word from Worthy News about what’s going on in the land, please let us know how to connect with them and we will do our best to get you on our schedule! You can send an email to george [ @ ] worthyministries.com for more information.

[johnny-simpson]

Anyone Else but Me (Johnny Simpson x reader fic)

Johnny Simpson was ethereal, an angel on earth. He had a habit of just sitting and letting all the gals flock to him, and that was even before the Donny Nova Band, before he shipped off the fight for Uncle Sam and the red, white, and blue. Before his jeep flipped three times over. Before he could barely remember his name. Before you could even remember what it was like to have your heart broken. Before your world came out from under you. 

You had known Johnny Simpson since middle school, you were paired up in english class by Ms. Francis to discuss the living situation of Laura Ingalls Wilder and her family, and like that, you two had become inseparable. You knew everything there was to know about him, and he knew all the bits and pieces that made up you. The whole school, including the faculty, and even both sets of parents thought you two would get hitched. And, they were right, mostly. 

A little while, in the odd space between the end of high school and the start of college, Johnny had worked up the nerve to finally make a pass at you.  Which you reciprocated.  You started dating soon after, the happiest year of your life. It was filled with moving into an apartment, going to swing clubs, dancing in your kitchen to Glenn Miller records, where now you can’t bear to live, put on the record, or listen to “Don’t Sit Under The Apple Tree.” You can’t bear to listen to any of those, knowing you can’t have your lover 

When you got a telegram saying that Johnny had a semblance of recollection of his crash but nothing else, you thought your heart was going into cardiac arrest. You knew the basics and that was enough for you to cry whenever you think of it. The thought of Johnny being scared as his jeep is flipping uncontrollably makes you want to scream. After you got the telegram, you had decided to get out of his life, not making contact with him. All you knew was that when he got home, he didn’t know his own family, his home, or his, well you and his’ apartment.When you got word that he was coming home, you quickly packed your belongings, adamant that he didn’t need you in his life. 

You now live by yourself in a small house in the same area as your old apartment. The amount of times you’ve debated going to the apartment, using your key to get in, and telling Johnny the whole story. Oh, how swell would it be to be held by Johnny once again or dancing to records in the living room, to be able to fall asleep with his arms around you, to be able to laugh about nothing. 

Instead, you live in a one bedroom house, alone. You no longer fall asleep to someone else’s breathing, but to the wind blowing outside the window. You now do mundane chores around the house in silence, fearing the music on the radio could render you inconsolable.

 Ever since you heard through the grapevine that Johnny was a drummer in a swing band, you tried to make it to every gig. Asking around if you didn't know where they were playing, desperately most of the time, hoping to see glimpses of your old lover. That’s how you became acquainted with Jo and Oliver, owners of two separate clubs. They knew of your past love with Johnny and of your heartbreak, showing their sympathy

You never really did anything at the clubs. Never really dancing with anyone, mostly just sitting at a table sipping daiquiris. Sometimes accepting the drinks of men passing by looking for a shot with you. It never went any farther than small talk. You wouldn't let it. No one could ever replace Johnny.

“Thank you,” Donny said one night after finishing “You Deserve It,” a winning song, “We are the Donny Nova Band.”

The band got off stage, packing up their instruments, and as the club started to file out through the doors, you looked down at your drink, your hand gently rocking your glass to swirl the contents. You were so consumed in your drink you didn't hear someone walk up to you.

“I have seen you at every gig but never dancing or sitting with anyone, why's that,”  a voice asked that made you jump, almost spilling your almost-empty drink. You looked up to see the saxophone player, Jimmy, you think his name is, staring at you, waiting for a response

You shrugged, trying to come off as nonchalant. “Must be a coincidence, I guess.”

He let out a small but sort of genuine chuckle. “That’s what I thought the first three times, but you are always at every gig of ours without fail. Now, that leads into the other question which you've not answered. Why aren't you with a group or someone else. “ he asked, sitting down in the chair across from yours.

You looked away from his intense stare and found your gaze fixated on Johnny. Johnny looked like he was having a casual conversation with Donny and twirling his drumstick. Jimmy caught your gaze and let out a sigh.

“If you come to every gig just to catch the attention of Donny, I hate to be the bearer of bad news, but you're barking up the wrong tree. He has his eyes on someone else, I'm afraid,’ he said somewhat softly.

You couldn't help but let out a laugh. “No, no, no. I'm not worried about that. It’s Johnny i come to see every gig,” you said, 

“Ah, so you're a fan of Johnny’s,” he said with a sly smile. “I'm more than that,” you trailed off and before you knew it you were sharing your history with Johnny to his bandmate. “He doesn't remember me, but I know that if I come to every gig, I get to be with him, even if for only a bit.”

Jimmy gave you a look of apology mixed with understanding. “I'm not trying to sugarcoat or bullshit my way through trying to comfort you or say that it must be hard. Because, I know it is. I know what it’s like to lose your love. But you have another chance to win Johnny back, it's not all lost.”

And for the second time that night, a voice next to  you spoke, but it was different, because this time you knew the voice. You stilled,  your body frozen in a shock of some sort. It had been almost two years since he had even been physically next to you. Your heart was racing, you were sure you could feel your hands shaking and becoming clammy. Is this actually happening?

“Did you say my name, Jim,’ asked the former love of your life. His hat was perfectly on his head and once again, he's fiddling with his drumstick. Jimmy nodded and gestured to you. 

“My friend,” he paused realizing, he never asked for your name, and you realized that as well so you spoke up.

“(y/n). (y/n) (l/n),” you said, a small part of you hoping that the reiteration of your name will jolt his mind back to remembering you. It didn't, to your utmost disappointment, but you didn’t let it show. It was a silly thing to wish for, honestly.

“Yes, my friend, (Y/n), over here was admiring your drumming ability,” Jimmy said. Johnny’s face lit up at the compliment and turned to look at you. You shifted your body to face him as well, and once you made eye contact, you felt at peace, butterflies, and grief all at once. It was the most overwhelmed you have felt, save for when you had gotten word the latter had his jeep flipped three times. 

“Well, thank you,” his eyes shone with excitement and his cheeks were a slight pink, whether it was from the adrenaline of playing live or from your compliment was anyone’s guess. He held out his hand, which you took, and he brought your hand up to his lips and kissed it softly. In spite of yourself, you smiled and blushed profusely. Your fingers were buzzing after the contact and couldn't bring yourself to bring your hand back. “It’s nice to meet you, Miss (Y/n,)” he said gently, “Thank you for coming.”

You nodded at his proclaimed gratitude. looked him in the eyes, and the overwhelming feeling of love and loss was back for the second time that night. You never wanted to leave the feeling if it meant you could stare at him forever. You could feel yourself falling in love all over again and before you could make any mistakes or profess your love, Jimmy cleared his throat, snapping you out of the trance.

“I’m heading out, (y/n), want me to take you home,” he asked, knowing well enough that he had to get you out of the club immediately before you broke down with grief of what used to be. You nodded and pulled your hand out of Johnny’s calloused hand, immediately missing the comfort and warmth of your lost lover’s hand.

“It was nice meeting you, Johnny,” you brought yourself to speak, struggling to get the words out. He tipped his hat and mentioned that he couldn’t wait to see you again with a wide grin that was brighter than the lights on a movie set.

Jimmy took your arm in his own, linking them in a hurry. “Alright, I will see you all on Tuesday,” he spoke loudly, talking to the band and Julia. You gave them all a slight wave and with that, you and Jimmy headed out of the building, leaving Johnny behind with the other members.

---------------

and thats a wrap for chapter one!!!

[dreamsofdeathbywater]

The 5 elements: earth, air, rain, fire, and zero sugar

since when did snapple start dabbling in elemental elixirs

[twittercomfrnklin2001-blog]

Five Graves to Cairo

After the madcap comedy of THE MAJOR AND THE MINOR (1942), Billy Wilder and his co-writer, Charles Brackett, took a sharp turn into wartime suspense with FIVE GRAVES TO CAIRO (1943). Franchot Tone is a British tank soldier trapped behind enemy lines in Egypt who takes on the identity of a dead waiter only to discover the man was a German spy. His boss, who arrives at the hotel where he’s hiding, is none other than Field Marshall Rommel, played to the hilt by Erich von Stroheim. Tone is quite good in his role, as are Akim Tamiroff as the Egyptian hotel-keeper and Peter Van Eyck as Rommell’s adjutant. But all their hard work takes a back seat to von Stroheim’s magnetic, nuanced performance. Wilder gives him a star entrance. He’s shot from behind as he dictates a telegram to the German high command, his thick neck dominating the screen, and only turns to show his face as he says his name. The film is atmospherically shot by John F. Seitz — who would go on work with Wilder on DOUBLE INDEMNITY (1944), THE LOST WEEKEND (1945) and SUNSET BOULEVARD (1950) — and scored by Miklos Rosza. There are some narrative burps. It’s amazingly convenient that the Germans never speak to Tone in German, even though he’s supposed to be one of them. But the suspense is palpable. Anne Baxter is beautiful as the French maid, Mouche, and has some lovely moments, but she’s awfully clean for a maid working in the middle of the desert. No sand sticks to that face. Her French accent is pretty inconsistent, and she keeps talking about the German “twoops,” as if she were doing a bad Marlene Dietrich imitation.

[dandthegods]

A Meeting of Gods

The councils gathered throughout the globe. From every continent, the gods from creation and nature, from life and from death, all gathered. Long past were the days when they received sacrifices from the masses. Long past were the days when songs and poetry and art was made in their name. Long past were the days with temples to them stood whole and tall. The mortals had seemed to abandon their gods, their creators, their kings, queens, and masters. So few of their worshippers survived the changes. So few kept the faith. New gods were in the spotlight now, and more were forgetting the old gods with each passing generation.

“The road is long and these mortals need our guidance,” rumbled an elephant headed god. An outbreak of murmuring from the crowd followed his words, creating a dull roar of unconvinced minds.

“I say we let them fall. If they don’t need us, we don’t need them,” sneered a god with fire in his eyes at the idea of the chaos to ensue. To that some members in the hall burst out in agreement, soon leading to an explosion of voices, roars, growls and words in languages of all tongues. Only did the hall silence when a bearded man with a wide brimmed hat stood and his red haired son clapped for silence. Thunder shook the hall and the din that followed it was absolute silence.

“Now, Loki,” counciled the one eyed god leaning on his staff, “the humans give us power. Yes, we can live on without them for the time being. But if we are forgotten, there is not much keeping us alive. And then even our immortal lives will end.”

These words were met with silence. The hundreds of gods in the hall looked at each other, looked down and some seemed to almost faint in their seats. For there was no greater threat to a god than being forgotten. Hermes, in his winged brass helm and sky blue cloak strode to the high tables of elder gods. The rock, fire, water and the heavy air of cloud Titans and giants looked down on the golden haired god, like a young man he seemed. Hermes turned and faced the great hall at large and his voice echoed.

“I agree with the All-Father,” he began, “these mortals mean more to us than we realize. The gods who came before us - where are they now? The gods I see before me all have worshippers, no matter how few. The gods before me have stories still told of them, art still made for them, their names clear in the language of mortals. The Gods I don’t see are gone. They were forgotten. They laid the way for us to come and create the world as it is. They could not keep up with the slightest change in the world. Man’s intelligence forgot them as easily as man forgot how he used to climb up trees. Those gods are dead. Those gods have gone from existence to where even Athena and Thoth do not know their names.

“We need these mortals to exist. We can not survive on memories and passing glances. Memories will fade and those precious tributes will become scarcer and eventually end. Then we live no longer. I am a young god, but I know this much.” He pauses and looked into the eyes of all the gods in the hall. Eyes that shone out from animal heads, human like head, and some from no heads at all, merely black swirling smoke. He continued, “I have spent time with the mortals, more than anyone in this hall. I have travelled with them, guided some of their dead to the Underworld, listened to their stories and seen their works. They are progressing, but I know they can do more.”

“Well,” roared an accented voice of a black-scaled snake the size of a redwood, “what do you suggest we do? These mortals are struggling. If they struggle enough they will come back to their gods and beg for help.”

“We were made by gods and giants and titans of old. They showed the mortals we existed and should be worshipped,” Hermes began.

“You can’t honestly be saying we create our own gods,” interrupted Ares, ripping off his helmet to reveal his scarred, snarling face, “we are not strong enough to create gods ourselves. We have power yes, we can create life, yes. But we can not create gods from that power.”

“Alone, we can’t,” Hermes replied. “We can not create gods from our individual powers. But I see many gods with shared powers in their own ways. Athena and Thoth have the greatest minds and ways of literature that any immortal possesses. You, Ares, and Thor and scores others have the wisdom and power of hundred of battles, enough to make armies of gods. Apollo, Anansi and Odin have the minds of poets and storytellers to keep the mortals remembering our names and dealings well beyond the millennium. All of the gods here has brethren and kin in mind and ability. Pantheons of gods that share power. If we all come together, we can create gods for centuries to come and keep our names and our worship strong.”

The gods throughout the hall looked around to meet the eyes of their fellows. Gods and goddesses of love gathered, gods of travel congregated, gods of death found each other and collected. All the gods were soon in conversation of ideas for the gods they would bring forth. Gods of machines and devices, of progress and innovation were configured and plans for the future of humanity were devised. And each god set out to create gods for their people. Soon the globe felt in control of the old gods again, as they laid plans and began their preparation and experiments for the gods that they would create.

And so the old gods made new ones. To keep up with the changing world. The world was changing back in their times of glory, but now it was changing faster than some could cope with. Some gods, the gods of iron work and the gods of railroads then freeways, had many sacrifices. The many mortals that were thrown into the casting of the great beams and structures were their tributes. The blood spilt by the accidents was a libation. All the gods had their domains, but they all reported to Hephaestus.

As travel changed, so did Hermes. Soon men were starting to catch up to the old gods’ speeds. So he created the gods of automobiles, gods of trains and of planes. These gods got their libations from each oil change, from all the gas spilt from first time drivers, and the fuel burned by teenagers on their rides. And Hermes guided these gods in the protection of the mortals who served them well.

Ares struggled to keep up with the world. Its wars had worn him down. Long gone were the hand to hand, even match and glory filled battles. Instead, Wars raged without true interaction. Without the soldiers knowing who he was fighting. The gods of modern warfare helped the men develop more advances in their weapons, better ways of killing. But Ares wanted none of that. Those gods were not his, they were not anyone’s. Those gods were made out of man’s need and strive for bloodshed. Instead, Ares created his gods in the homes of the soldiers. He placed gods at every uniform that delivered a telegram to a loved one. They filled the VA hospitals and veteran centers across the lands. The war god ensured those who came home from war would be safe from the war they left. If only their fellow man would keep their promises.

As man discovered the powers of thunder and lightning, they tried to harness it. Zeus wished none of that. His bolts were his, won from his father. But as man expanded, Zeus saw the societies crawl back to the times of darkness and shadows before Prometheus had visited them. In these new lands, Zeus saw the need for his lightning. So as man gained reason, they harnessed the lightning at long last. And men did extraordinary things with it. With each device and element of this controlled and organized lightning came a god. Gods of telephones and televisions, gods of microchips and wires and discs. Gods of visual and audio entertainment joined the scores of others who all were the result of Zeus’s lightning.

Just like a heart finds new muses, Apollo made new gods for man. A god for every genre of music. The voice of a god in every song created. Gods of rock, of country and of jazz rose. Apollo traded his lyre for pianos and guitars and horns of brass. The gods filled the hearts of every man and the ears of any who heard. Apollo commanded his scores of gods and the ever changing world kept them busy.

Dionysus had the grandest times with his creations. Times were tough in many places and times continues to be tough in some, but Dionysus created his gods. He created gods to fill the knowledge of life into the world. He created gods of acceptance, gods of parties and of ecstasy. His gods filled the night with neon and smoke, with dance and with music beyond those of Apollo’s. His gods raged throughout the scenes and brought his wilderness gathering to the cities. He created gods of silence also. These gods were for the scared and the lonely. For the judged and the abandoned. His gods guided the confused souls taken from their world to the next. His gods took the forms of any love, any body and any gender. And Dionysus ensured these gods would have power once again.

And gods from every walk of immortal life, from every continent and every culture came together and created all their new gods. Each making tens, dozens, hundreds of gods in their ways. Each old god fueled by the new worships and the new sacrifices. And though man may not see the old gods behind the new, they’ve always been there.

[kazwicrypto]

Ferox

FRX TOKEN- MAKE HEDGE FUND INVESTMENT MORE PROFITABLE AND VALUE

Thanks to the field of technology together with the creativity of this company, "Ferox Advisors," the growth of this network has been made possible, and has stood out in the Cryptocurrency wilderness with its extraordinary cutting-edge initiatives as the foundation and rapid transition to EVOLVE.Many of the fintech community would agree that we are both very fortunate to be living at this tipping point in history, when blockchain and cryptocurrency are just emerging on the global stage. Fintech has opened a new environment for the industry, which has a lot of room for new technology and innovation, and Ferox Advisors has emerged to fill the gap (FRX). Project History Ferox was founded on the convergence of hedge funds into decentralized finance, or "DeFi" (FRX). As a result, Ferox FRX is a cutting-edge Decentralized Finance project focused on Tron (TRX). This project came to Defi universe to be fought as the backbone of efficiency to thrive, as a project full of openness and the strongest team ever. Recognizing this opportunity, Ferox Advisors has assembled a professional team of beginners and veteran investors to develop a comprehensive blockchain trading network. As cryptocurrencies are meant for wide acceptance, our platform will serve as a one-stop shop for clients looking for a high return on their investment. We will build a user-friendly infrastructure that combines existing markets with blockchain-based assets.How Can Users Get FRX Tokens? Users can obtain FRX tokens by purchasing them through the Refund program. Users will get multiple incentive levels of up to 300 percent in this program. Since the project is in the token sale stage, all you have to do now is send TRX to the project connection address and wait for the team to credit your FRX token.SOME OF THE FRX TOKEN STANDARD FEATURES. 1. YIELD AGRICULTURE: This involves a process where users or investors use their tokens to make a profit. Yield farming is described as a reward that users get from risking or lending their tokens for some time. FRX token uses the best strategy to maximize user income from their first fund. 2. LIQUIDITY MINING: This occurs as a result of agricultural yields. That means getting tokens as a bonus in addition to the usual returns. These are tokens that are newly created as a result of user mining. WHY FRX TOKEN IS ONE OF THE BEST DECENTRALIZED HEDGE FUNDS TO INVEST. DECENTRALIZATION: FRX TOKEN as a fully decentralized hedge fund, it eliminates the involvement of third parties allowing investors to manage their own funds. TRANSPARENT. As a blockchain-based token, FRX TOKEN is open source to allow the free flow of information between the team and investors, thus providing the simplest transparent platform for investors. SECURITY. The platform is known for its high level of transparency through the use of smart contracts to ensure that investor funds are secured and not tampered with. LOW Initial Cost. One of the challenges faced by traditional hedge funds is the higher costs when starting a hedge fund. But with decentralized hedge funds like FRX TOKEN, high fees are eradicated allowing investors to start decentralized hedge funds and receive money from investors. POWERFUL TRADING TOOL: FRX TOKEN provides access to tap from various types of blockchain-based financial markets and at the same time provides investors with trading tools for easy and fast trading processes. USER-FRIENDLY INTERFACE: As a decentralized hedge fund platform, it is equipped with an easy-to-use interface for compacting issues involving traditional hedge funds, ensuring there are no challenges in navigating DeFi and its sophisticated investment variations. PERSONAL. This is one of the basic principles contained by FRX TOKEN. FRX TOKEN ensures that the privacy of investors and users is protected because when privacy is violated, user data and information will be lost. ZERO MANAGEMENT COSTS. The platform charges fees only for profits such as a vote of confidence in its strategy. PRESET RISK MANAGEMENT. The use of FRX TOKEN helps stop losses and is

predefined before trading and strict maximum loss limits are automatically enforced. FRX Token Ferox Advisors is not only a hedge fund company, but also provides a token hedge fund called FRX Tokens. The FRX token is a TRC20 token designed on the Tron blockchain. With this combination, Alpha Hedge Fund Forex Advisors provide a decentralized token hedge fund with the productivity capabilities and benefits of the DFI ecosystem. FRX tokens can be purchased and received by users through the Seed Round program. Users can get multiple bonus levels of up to 300% in this program. The bigger the investment, the higher the bonus. FRX token utility Apart from participating in hedge funds, FRX is the betting token of choice directly from the Firx Consulting site. This bet will be a dynamic version of binary options (or bet on consistent spreads), allowing users to make daily predictions about the prices of cryptocurrencies and major products such as gold, silver and crude oil via FRX tokens in the payout structure. Ferox Advisor Tokenomics: Forex Advisors is a private limited company in which they have invented crypto tokens - for investors to share their profits and for partners to participate. The FRX token will feature liquidity mining and standard yield cultivation, enabling its holders to deposit tokens and generate dividends. The project plans to deliver a total of 70,000 million TRX tokens. The company says 400 million tokens will be minted in the first year of the first year and sold and distributed in the second year. The rest will be set aside for split funding, special promotions and development roadmaps. TOKEN FRXIf  needed, the FRX token is a cryptocurrency that supports the Tron (TRX) blockchain with the latest technology. Understanding this, Fеrоx Advоr offers a decentralized token hedge fund with alpha hedge fund generating capabilities based on the leverage of the DEF ecosystem.Pre-sale details for FRX Token Given that the token sale to purchase FRX tokens is already underway, you only need to send TRX to the project address using the following token sale structure. Users who invest up to 10,000 TRX are entitled to buy FRX at the following prices: 1 TRX = 3 FRX (for example, if you buy 9000 TRX, you will receive 27,000 FRX). Individual users who purchase between 10,000 and 50,000 TRX will receive FRX at the following prices: 1 TRX = 3.3 FRX (if you buy 30,000 TRX, you can get 99,000 FRX). When buying FRX at current prices, you can make a profit with a large investment from 50,000 TRX to 300,000 TRX: 1 TRX = 3.6 FRX (for example, if you buy 100,000 TRX, you will receive 360,000 FRX). If you buy 300,000 TRX or more, you will receive 1 TRX = 4 FRX (for example, if you buy 500,000 TRX, you will receive 2,000,000 FRX). One thing to keep in mind is that you must use a TRC-20 compliant wallet to transmit TRX and receive FRX smoothly and easily. For ETH or BTC portfolios.Hence, FRX Coin is the native cryptocurrency of the FRX Coin ecosystem. The FRX token optimizes liquidity, a feature that will play a key role in the overall liquidity control of the exchange when exchanging various coins. Users will use their FRX tokens in real-time transfers, which ensures they don't have to sell tokens to buy something.CONCLUSION Now we see that the Ferox Advisors platform will connect individuals, financial banks and organizations that need coins on a single interface where they can all transact according to the applicable rules, user data protection and self-sovereignty, so that revenue is generated from monetization. The coins will be distributed fairly especially for the benefit of FRX Coin owners. The platform is based on the block chain and thus, ensures transparency and other benefits such as efficient utilization of tokens; The creation of new technologies relative to project management; Tokenization of real valuables for flexible exchange; etc. The Central Utility Token of the Ferox Advisors platform is known as the FRX Token and functions as an incentive; central currency and user rights.For more information, Connect

to Ferox Advisors Website:  http://feroxadvisors.com/frx Medium:  https://frx.medium.com/ Telegram:  https://t.me/FRXalpha Twitter:  https: // twitter.com/feroxadvisorsby ;kazwii link: https://bitcointalk.org/index.php?action=profile;u=2633305

[dreamsofdeathbywater]

Interview With The Vampire tv show is all about fucked up people in messy relationships but if Louis doesn't want Armand because he's boring I'll take him. Spending a month starting at the ceiling of a library sounds like the speed I like to take life lmao ideal fantasy man right there.

[dreamsofdeathbywater]

Showed this to my mom and she said "That's awesome I want a boob plant" xD

[zombeesknees]

a retelling of the mummy

casting picspam part one part two part three

THE MUSEUM OF EGYPTIAN ANTIQUITIES THE LOADING BAY THE NEXT MORNING

           “I swear to you, Jamal, this is the highest quality medicine money can buy. Guaranteed to clear up all manner of illnesses and problems. It’s especially good with toothaches. Look, have I ever led you wrong? You know my cures work!”

           “I know you’d sell your grandmother for an audition, Rashid,” the delivery man said, wincing.

“Who do you think taught me how to concocts all of these elixirs? That’d be like selling the golden goose!”

“Fine. I’ll take it. I’ll try anything to stop this throbbing in my jaw.”

           “A pleasure, as always, to do business with you, my friend.”

           “Hey, Jamal, if you want that tooth taken care of, bet we could get Cristos to just pull it for you,” Sayyid called from a crowded table in the corner, glancing up from his cards. “And don’t worry about it hurting too bad—we’ll have him knock you out first. A punch to the temple, a punch to the jaw, and boom: no more toothache.”

           “What’s the idea of cutting into my side business?” Rashid hissed as he reclaimed his chair, fishing his cards from a pocket. “I need every coin I can get my hands on if I’m gonna get a ticket to Hollywood.”

           “Hollywood doesn’t want you,” said Ali-Mahoud dismissively. “All those pictures you see, you ever see anybody that looks like us? Brown people don’t show up on movie screens. We’re invisible to cameras.”

           “That’s sure the truth,” agreed Sayyid.

           “Anyway, there’s only room for so many actors,” said Tommy—the sole American of the group and therefore acknowledged expert on such things—as he drew another card. “So long as Buster Keaton and Laurel and Hardy and Charlie Chaplin are around, Hollywood doesn’t need any more comedians.”

           “Buster Keaton’s great,” said Cristos. “A lot funnier than you, Rashid.”

           “I wouldn’t call getting houses dropped on your head funny,” Rashid muttered mutinously. “Or jumping off cliffs. Any idiot can do that.”

           “Yeah, but only Buster can do it and live,” Cristos retorted. “Full house. Pay up, boys.”

           “How can you be so good at cards when you can barely count to ten, Cristos?” Sayyid groaned, throwing his hand into the pot. “That’s it. I’m done. I need to actually eat this week.”

           The door banged open and the group leaped to their feet. Cristos shoveled coins and crumpled bills into his shirt. Ali-Mahoud grabbed a box, only to promptly drop it. “False alarm, everyone. It’s just Abdullah.”

           “Didn’t we tell you to knock three times before coming in?” Tommy complained. “We thought you were Yusafi. He keeps rolling in here at all hours, trying to catch us slacking off.”

           Mahdi ignored him, attention focused on the youngest of the shipping crew. “Rashid, I need a word with you.”

           “You can have a dozen, Boss. What is it?”

           “Not here. In my office.”

           “You mean the cataloguing room? You don’t technically have an—”

           “Rashid.”

           “Coming, Boss.”

           “What’s up with Abdullah?” Sayyid wondered after the pair had disappeared. “He looked more high-strung than usual, which is saying something. That man’s nervier than a box of cats.”

           “He was having nightmares last night,” Cristos said. “Fell asleep at his desk, started screaming for help.”

           “I heard the Professor say his granddad was some big name in archaeology. A foreigner—Indian, or maybe a Paki. He died in an accident at a dig when Abdullah was a boy, and Abdullah saw the whole thing. Something like that would fuck anybody up,” Ali-Mahoud said with his usual deadpan monotone.

           “I never knew that,” Cristos said quietly.

           “There’s a lot you don’t know, Cristos.”

           “What’s the problem, Boss?” Rashid asked. “If Sayyid said I ate your lunch on Monday, that’s a dirty lie, because he was the one who came in and found your pita—”

           “I want you to tell me about the book,” Mahdi cut him off, pointing at the desk. “That one.”

           “…I’ve never seen that book before, Boss. I swear it.”

           Mahdi stared at him. Rashid Al’Beyber had a boyish face that could be supremely innocent and dewy-eyed when he was so inclined, framed by dark hair that fell past his shoulders. He often used his good looks, flippant charm, and youthful air to squeeze out of trouble.

But Mahdi thought he’d gotten pretty good at seeing past the young man’s tricks—Rashid seemed to look up to him. Trust him. Mahdi knew he was the only one at the museum who had actually met Rashid’s infamous grandmother, a tiny dried apricot of a woman who still possessed strength enough to clean homes while raising a young man with wild schemes and wilder dreams.

“This isn’t part of some joke?” Mahdi pushed.

“Not one of mine. Honest.”

“You left a note saying it had my name on it.”

“Oh! Well, I didn’t know what was inside. The box came with yesterday’s usual mail, stamped ‘urgent—open immediately’ with your name on it.”

“It was literally addressed to me? Not the museum?”

“It had ‘care of Egyptian Museum’, but your name was at the top, Boss.”

“Where’d the package come from?”

“England,” Rashid said promptly. “Dover, England. I took the stamps home to Granny. She cleans for a guy crazy about stamps, and she knew she could sell them for a—are you alright?”

“Was there another name, a name from the sender?”

“I didn’t see one.”

It had come from England. From Dover. There was only one person who could have sent it.

“Boss! Hey, wait!” Rashid jogged to keep up as he followed him down the hall, up the stairs, across the main atrium, around the display cases full of papyrus scraps and Middle Kingdom jewelry, all the way to—

Mahdi knocked sharply at the polished door, knuckles striking just below the bronze plaque engraved DR. QADIR YUSAFI, ASSISTANT CURATOR. There were the sounds of paper rustling, a wheeled chair rolling back, and heavy footsteps crossing the office floor. Finally, the door swung open.

Dr. Yusafi was as noted for his girth as for his work with funerary goods; the man reminded Mahdi of a hippopotamus with his wide head and bristling beard. “Yes, Abdullah?” he asked, eyes tiny behind his thick glasses. He had the same British edge to his accent as Mahdi—they’d both spent years in England. “Did you finish with my tablet yet?”

“Yes, sir, the translation is down on my desk.”

“…What’s it doing down there, man? Does me no good in the basement.”

“I forgot to bring it with me, sir.”

“Forgot to—well, then why are you here if not to bring me my translation?” Yusafi demanded.

“I need to use your telephone, sir.”

“Whatever for?”

“I need to place a call to England, sir.”

“I should think not! Do you have any idea how expensive such a—”

“Qadir, I believe a very good friend of mine may be in trouble. I need to speak with him. Please.”

For a moment, the Assistant Curator merely blinked, nostrils flaring above his moustache. “Very well, Abdullah. Try to keep it short.”

“Thank you, sir.”

“…His name is Allerdale. Allerdale! A-L-L-E-R-D-A-L-E! No, not Quentin, George! George, like all the bloody damn kings! Yes, I’m sorry, I know profanity won’t get me anywhere, but please try to understand: I’m calling from Cairo, Egypt. Yes, the place with all the pyramids. I recently received a package from your city and I’m sure George sent it. George, I said! George Allerdale!”

Mahdi pulled off his glasses and rubbed his forehead. “This operator must be a hundred years old and half-deaf,” he muttered.

Rashid flashed him a sympathetic smile across the desk.

“No, I’m not sure of his exact address. We haven’t spoken in a while, and I can’t recall from memory. Yes, I’m sure he’s still living there—the entire family’s lived there for fifty generations or something! He has a sister named Gillian—yes, Gillian Allerdale! Oh, you know her! Fantastic! If you can’t find George, get her on the line!”

While the operator shuffled through Dover, Mahdi tapped an impatient rhythm on Yusafi’s desk. He and George hadn’t parted on the best of terms. He’d said some hurtful things, and George had given back as good as he got. All those years they’d been inseparable at Oxford, and then…

He’d accused George of being a grave robber. “If we don’t follow protocols, we’re no better than thieves,” he’d shouted.

George had argued that there were times when protocols could go hang, that some things were too important. And then he’d accused Mahdi of lying, of being closed-minded, of denying possibilities out of cowardice. “You know there’s more out there! You’ve seen it! And now you ignore facts and follow the safe line because you’re too weak and afraid to do more!”

It hadn’t been the farewell he’d hoped for.

Several years later, George had offered an olive branch with a letter. They’d corresponded for several months. Repaired most of their friendship. Mahdi had saved money for a visit; they could take the train back up and pop in at the old haunts, see if Old Sam was still pouring pints and telling outlandish stories at The Hare.

Then George had written to say there was no need for that. He’d be coming to Egypt for an important dig outside Thebes. When the dig was over, he’d stop in for a week before heading home.

That had been two years ago. George had never come to Cairo. All Mahdi had gotten was a telegram saying he’d been forced to go home following a bad fever. ‘Will write soon.’ Only he hadn’t.

Now this…

“Sir?”

He snapped back to the present. “Yes?”

“I’ve got Miss Allerdale here for you.”

“Thank you.”

“Hello?”

“Gillian? I don’t expect you to remember me—we only met a couple times.”

“Of course I remember you, Mahdi.” Her voice was quiet, unsteady—or was that just the long distance connection?

“I really must speak to George. Do you know where he is?”

“…Yes. Mahdi, George… George is dead. Someone broke into the house this past Saturday, while Mother and I were at a church social. They, they stabbed George. Ransacked his library. The police think it was a robbery. All of George’s journals are missing, and that amulet you sent him. I’m dreadfully sorry you had to hear it like this—telephones are so impartial, aren’t they?” she said breathlessly.

“I’m the one who’s sorry,” he said, the words automatic, a lump of ice growing in his stomach. “I’m so sorry for your loss, Gillian. I know he loved you very much.”

“Have you gotten his letter?”

“Do you mean the package?”

“…I don’t know anything about a package, but I know he wrote you a letter. The day he died. The police have interviewed everyone in town, and they think the last person to see him before the murderer was our postman. He told them George rushed out to hand him a letter as he was passing. He said it was for someone in Egypt, someone with a foreign name. I thought it must be you.”

“No, I haven’t gotten any letter. But then coming from that distance, it often takes a while.” He sounded so calm in his own ears, so detached. He’d just heard that his best friend had been murdered and he could think logically about the international speed of postage.

“If you get it—when you get it, if there’s anything inside that might…”

“I’ll contact you immediately. Have you had the funeral yet?”

“The service is tomorrow. He asked to be cremated. He wants his ashes spread over the Nile. Mother and I will plan that later. Right now, that’s too much.”

“Of course. If there’s anything I can do, Gillian, please tell me.”

“Thank you, Mahdi. I know how close you and George were.”

“Goodbye then.”

“Goodbye.”

The click of the receiver dropping into the cradle was as loud as a gunshot. Even the noises of the busy street beyond the office window seemed to have disappeared. The cold lump in his stomach was spreading, numbing his fingers, tingling in the back of his throat.

“I’m sorry, Boss.”

Mahdi looked up sharply. “…Thank you, Rashid.” He forced himself up from the plush leather chair. “A letter should be coming for me. Also from Dover. The moment you see it, bring it to me.”

“You’re not going back to work?” Rashid said, following him from the office. “You’ve had a shock—you should rest.”

“No need to Mother Hen me. I’m a grown man. George was only a friend, and one I hadn’t seen in years.” The words were hollow in his ears; in so many ways, George Allerdale had been his only friend. The only one he’d completely confided in since Grandfather…

“Anything else I can do?”

“No. Just bring me the letter.”

[dreamsofdeathbywater]

So I have teeth like this!

I imagine it's different for every person but they don't cause any problems for me. My dentist as a kid wanted me to get braces but I was concerned about other issues and refused to have them put in just for "pretty teeth". As for why they stick out in front of the other teeth; in my case it's because they did not have enough room to come in all the way and got pushed in front a bit. They also did not come down from my jaw/gums all the way so if I did get braces they would be longer, which would still look like fangs in my case and sometimes I thing that would look cool but ultimately not worth the effort.

You know how there's those physical traits that you find attractive or think look cool, but you can't compliment people about that because those features aren't considered "conventionally attractive" and you know there's no way to point it out in any way that wouldn't feel like a cruel, sarcastic or backhanded compliment? Like when people have teeth like this:

Like the type that are set a bit above the other teeth, at an angle where they point outwards a little. I don't know if there's some actual medical reason why they need to be straightened or if they're painful if you don't get braces or something, but purely visually speaking I think those look cool as shit.

Like you've got fangs. Canines that put the 'canine' to a wolfish grin. That is the coolest shit ever and I can't tell someone that because they've been taught that having distinct teeth with character is wrong and bad. And I don't mean to be dramatic but I think that people who taught you to be self-conscious about having angled teeth should be ground to bonemeal and fed to cabbages.

[cryptswahili]

Tour de Crypto Co-Founder Offers Legal Advice on STOs

Last year was a busy year for Blake Rizzo, and it looks like 2019 will continue with his foot firmly on the gas pedal.

As well as heading charity affairs at Tour de Crypto, a platform that educates charity organizations and the general population on cryptocurrencies, Rizzo is also executive director of the Houston Blockchain Alliance, legal advisor to the Litecoin Foundation, and an attorney and charity advisor for Rapids, a decentralized platform that combines technologies of social media with blockchain technology.

You’d think he’d have his hands full, but it seems there’s always room for one more.

Now, in a bid to offer legal advice to those who need it, Blake has opened his own law firm, focused on the ever-changing world of blockchain technology. As a blockchain and digital security attorney, his office is specifically looking at digital currencies, Security Token Offerings (STOs), and the tokenization of assets.

Guide in a Legal Wilderness

Prior to getting involved with crypto in 2017, Rizzo spent 20 years practicing law and was involved in high-stake, multimillion dollar commercial and bankruptcy litigation. Some of his cases involved securities, breaches of fiduciary duties, and deceptive trade practices, among others.

However, what started as crypto curiosity soon saw Blake falling down the rabbit hole, with his eventual involvement in various blockchain and crypto foundations.

Rizzo described a “life-changing” epiphany at last year’s World Crypto Conference. As the conference came to an end with an #CryptoKindness party at Omnia Nightclub in Caesars Palace, Rizzo found himself outside on a balcony with  the Tour de Crypto team, looking at the Paris Casino Eiffel Tower.

“As I stared off into the distance, it became clear to me that I was destined to completely immerse myself into the industry ,” Rizzo said. “It was at that moment that I decided to open my own law firm to focus on blockchain and digital securities work.”  When he returned to work the following Monday, he told his partners that he would be leaving.

The main objective of his new firm, he told Crypto Briefing, would be to help clients navigate the process of creating, marketing, and launching regulatory-compliant STOs and asset-backed tokens.

“We’ve been through many failed ICOs and outright scams that tarnished the market,” Rizzo added, comparing today’s STO industry to that of the post-Pets.com era of the internet. “Sound legal advice in the STO market is desperately needed and it’s exciting to be in on the ground floor of the most disruptive – and ultimately more powerful – technological shift since the internet.”

Security Tokens: Crypto’s Next Step?

Over the last few years, security tokens have become a buzzword in the crypto space.

Unlike an initial coin offering, or ICO, which issues utility tokens to investors in return for money to grow a business, an STO is a crypto token that represents a stake in a business or a share of the profits to the token holder.

And with ICOs declining in popularity following the 2017 bull run and crackdowns from the U.S. Securities and Exchange Commission, projects are turning to STOs. So much so, that Michael Nye, founder of Elevated District Media, took to Twitter to say: “Listening to people pitch their STO’s right now. It sounds exactly like the 2017 ICO pitches.”

Of course, while some may be dubious of this latest phase, others are hopeful that STOs can deliver a legally compliant form of growth for the crypto market. Not only that, but many believe tokenised securities will grow into a trillion dollar industry. One of whom is Rizzo.

“The STO market is in its infancy right now,” he said. “This is no longer the ICO wild west. Companies must seek sound legal advice and assistance to make sure they are regulatorily-compliant throughout the entire process. Like many others, I do believe tokenised securities will evolve into a trillion dollar industry, but right now we must focus on infrastructure.”

Some of the services he provides to clients include providing them with the latest regulatory updates from the SEC and the Commodity Futures and Trading Commission (CFTC), advice on KYC-AML compliance, as well as legal review of development plans, whitepapers, marketing materials, and press releases to ensure they comply with applicable laws and regulations. They also provide ongoing support on key regulatory challenges, including whether ICOs are considered securities under U.S. federal and state laws.

“When launching an STO, it’s important to hire a lawyer that understand tokenomics, is up-to-date on the quickly changing regulations and has access to the right platforms and people,” Rizzo said.

Keeping Busy

Having been involved in the blockchain and cryptocurrency space for the last few years, Rizzo has been able to establish many relationships, all of which he can leverage for the benefit of his clients. “I have assembled a great team of CPAs, marketers and publicists from the blockchain and cryptocurrency space ready to help our clients take the fully compliant route to tokenization,” he said. 

With such a new and emerging market, Rizzo admits that it’s hard to speculate how much work he’ll receive, but he does envision multiple STO deals this year and many more in the years to come.

“In the first month at my new firm, I began discussions with seven different groups about the tokenisation process,” he told Crypto Briefing. “Although the projects are in different stages, they all understand the need for a regulatorily compliant STO. I think the sentiment is the same across the industry and I imagine STO work being the linchpin for my firm.”

On top of that, he is in talks with a group of people in Houston to form a complete one-stop shop for token creation, technical development, fundraising, and SEC compliance.

With security tokens already attracting regulatory scrutiny, there should be no shortage of clients. If Blake Rizzo didn’t have enough work to keep him busy before, he’ll certainly have his hands full now.

The author is invested in digital assets. 

Join the conversation on Telegram and Twitter!

The post Tour de Crypto Co-Founder Offers Legal Advice on STOs appeared first on Crypto Briefing.

[Telegram Channel | Original Article ]

[rudiunit5unit13]

Aaron Draplin is a graphic designer and author that runs his own design business called draplin design co and he was born in Michigan on October 15 in 1973. He has worked with big clients like ford and is well known for minimalism and more of a retro style.

After watching videos about his design process and analyzing some of his designs I took some notes about how he works and what he is interested in.

Uses simple shapes

Tries to create logos that are timeless

Enjoys vintage things and simplicity

He brings letter forms back to basics

Enjoys minimalism

Starts by sketching

Makes notes on texture and color

Makes sure a design will look good on things like websites and items

works with negative space

creates lots of duplication to help his idea generation and outcome of his product  

Makes sure his designs work in all sizes

Experiments with shapes gradients and text

Experiments with different layout variations

3 examples of his work and my thoughts and options on them

Assembly.

This logo is a clean sleek geometric logo. You can see how he has created the icon for this as the letter A completely made out of triangles. Its clever because all of it is essentially triangles making it seem complex but really the shapes and design is minimal and the color pallet consists of different shades of blue with the bass of the design being dark shades of blue then gradienting to a lighter shade at the top. Underneath There is a nice sans serif font that’s not too bold but the weight and thickness of it is just right so you can clearly read it in a small and large size. 

Peak Oil.

This logo is very minimal so it is simply a black and white logo. He has created the shape of the logo out of some sort of droplet to represent oil. He has used some techniques to add depth to this logo for example on one half of the droplet lines are taken out of it showing this negative space and it almost works as a shading affect. Another thing that he had done to make the type pop is put it in a black circle so its not lost in the shapes and negative space. For the text he has used a clean geometric sans serif font and used hierarchy with the work peak being larger than the word oil.

Nike.

His Nike logo is very text based and it look like a label. I really like this because it has a very vintage old school look to it. once again the general shapes are very basic and geometric but the lay out of all the different lines makes this logo look very strong and quick. Once again using hierarchy with his text as you can see in a more vintage looking serif nike logo at the top so you know which brand the design is for and about. One thing that I really like is the small iconic nike swoosh at the bottom which just makes a nice composition with the two nike logos being the bass and the top and then the rest of the type being centered in the middle of the box created by the geometric lines. This logo has a very simple color scheme as it just uses a nice bright teal cyan color and relies on negative space to create the back drop.

Saul bass

Saul Bass was born on may 8th in 1920 in the Bronx, New York were he was brought up by his Jewish parents. Saul Bass had a passion for art and he graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan, He then went on to attending night classes with the painter György Kepes at Brooklyn College.

He started working in Hollywood in the 1940s were he worked making advertisements for print for films like Death of a salesman and The moon is Blue. A stepping stone in his career was when the director of The moon is blue asked Saul to design a film poster for the film Carmen Jones in 1954, The director called Preminger was so impressed with his work he asked him to produce the title sequence as well. After creating the title sequence he loved it and realised how it can positively enhance the film to the audience. He then went on to create many Posters and advertisements but also lots of film title sequences too.

Saul Bass enjoyed many elements of design and is mainly known for his posters and advertisements but he also did work creating logos for brands like AT&T Corporation (1969 and 1983) and Frontier Airlines (1978).

It was not just advertisements and logos he was a filmmaker for a while during the 1960s were he was asked by directors and producers to produce not only title sequences for their films, but also to visualize and storyboard key scenes and sequences within them.

I would say he is most well known for his film posters and he created some of his best known posters for films directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick and more. His last commissioned film poster was created for Steven Spielberg's Schindler's List  in 1993 but it was never distributed.

Saul Bass won awards such as Academy Award, Best Documentary, Short Subjects and Why Man Creates. He then died in 1986.

I really like this poster by saul boss, I really like the rough shapes and I think the use of three plain colors could seem a little boring but I think the simplicity of the color scheme and shapes actually work well and looks good I also like how the background colors are not a fully saturated and are a little faded or softer making it easier on the eyes and it also allows the wording within the negative space of the body to pop. I enjoy how the poster looks like it has been cut out of bits of colored paper and then put together. One of the reasons a lot of his work is a little more simplistic is because the printing back then was not as advanced as it is today and this also applies to other elements of design like there was not digital software or it was not as advanced as it is today but I think the simplistic look comes across as a bit modern with minimalism being very popular. I think the large text in the body looks great because It stands out which makes sense because the tittle is very important, I don't like how the text is all messy and wonky but this might have been done so it fits the atmosphere of the poster with its rough cut out look.

It shows that Arron draplin takes inspiration from saul bass in his work in the way that he also works with simple shapes, colors and minimalism to help make things like logos live longer and work in all different sizes on different things.

Stefan Kanchev

Stefan was born on the 6th of august in 1915 in kalofer Bulgaria. He studied mural printing in the national art academy from 1940 to 1945. He worked in all areas of art from book covers to trade marks, advertisements and more. Kanchev participated in many galleries and exhibitions both locally and abroad from Budapest, Berlin, Moscow and much more. His work is said to be well know for his clear composition and his “fellicitiouse relation between fonts and shapes”

His work and dedication to galleries popularized his work and style which led him to wining many competitions for typefaces, posters, trademarks, postcards, telegram forms, book designs etc, and his work became famous and could be viewed in the major applied arts encyclopedias. He then went on to win the “cyril and methodius” 1st calss in 1956, 1963 and 1969 for playing a big part in the development of Bulgarian culture. He proceeded with his work and won the Bulgarian state title of national artist in 1971.

Kanchev grew up around his father that was a info graphic artist which inspired him to do art. He has progressed to become a well known artist and draws all of his logos and work free hand it is said that his last moments were spent drawing and working before he got taken to hospital where he died in on august the 22nd in 2001 aged 86.

“Sadala” — Burgas (Factory for underwater fishing equipment)

This logo is a simple black and white logo. It uses negative space and when you look at it there are only two shapes which are black and then when you add a background color which allows you too see the pattern in the negative it still only looks like there are maybe four shapes. This is a logo for something to do with fishing equipment and you can see how this is represented in the logo by the simple fish created out of negative space. The fish is surrounded by a black oval shape which creates a nice boarder which I think will help this design stand out. I Think from looking at this design you can tell that it is related to fish. I also think because of the simplicity of it with essentially just two black shapes and negative space I think this design would work very well on many things because of its simplicity it could be scaled down and still look good, one thing that I am not a huge fan of is the boarder of the fish is not a round circle its slightly stretched  vertically and it might look more pleasing to the eye if it was an exact circle.

Hotel “Shipka”

This design is for a hotel. the design only consists of black rectangles with the layout being one long rectangle at the bottom and then on top of it three rows of rectangles each row consists of 9 rectangles which are individually space out by columns and rows. If you look at the design as a whole its like one large rectangle made out of rectangles. The design is meant to represent the hotel and after looking at pictures of the hotel it has a very geometric shape to it and looks like one big rectangle and then rows of rectangles making up the window. This is a very simple design using a very very limited amount of shapes and black as the only color. I think When you know what this design is for it makes total sense but on its own it might be a bit hard to see its a hotel as it could be a block of flats a chocolate bar or a calculator so I think this design could be too minimal.

“Slavyanka” (Port with fishing center)

This is a design for a fishing port. This design Uses thick line work with a circular border with lines coming off it colliding with other lines creating two fish which can be distinguished by the two small circles for eyes. Once again this design is just black but the shapes and pattern is a little more complex. I really like the flow of the pattern and the thickness of the lines as I feel if the lines were thinner it would be harder to see and if the lines were thicker and heavier the fish wouldn't look right. Just like all three designs this one also uses negative space. I think this design would work in many sizes just like the others as it uses just black and clean sharp line work with smooth curves. I think all three designs use good negative space and are able to express and represent imagery using minimal colors and shapes. But I think without any context it is tricky to understand what these designs are for.

I think his work is enjoyed and works well within the design industry because in most cases its simple but effective. The fact that its so minimal allows it to work on so many different platforms and materials, you could scale it down and enlarge it and it would still hold its form and you would still be able to recognize and identify the imagery and illustration he has created. The best type of design is a design that’s timeless, now its very tricky to create something timeless as the design industry is constantly changing but as of today I feel like his work would still work as simplicity and strong composition and structure is heavily used so I think that his work may become outdated in the future but as of now it would work fine meaning his style of design has already lasted a long time.

I think both designers share certain things in common and one of the two things that they both heavily focus on is simplicity and composition and they are both good at creating design focusing heavily on these two things because when your making a minimal design if you have bad composition or something is slightly off its very noticeable because in some cases there are not a lot of elements/parts to the design. You can definatly see similarities in there styles and work and arron draplin talks about how he loves old things and believes that design is timeless and does not need to be complex and crowded which is something that Stefan Kanchev does very well so he could possibly be taking some inspiration from Stefan Kanchev.

[dreamsofdeathbywater]

It's genuinely disappointing to see "Amtrak Official" act so childishly about your response, and pretend you meant suburbs and not farming communities and reserve land.

There are indigenous people all over North America that do not live in major cities and pretending they are not an important part of the conversation is ignorant at best. As for the question of farming and farming communities it's something that cannot be side stepped either. Most people in those communities never have the resources to leave if they want to, and if they do, who is making the food for all these people living in cities.

That's not even touching on the American centrism in that post. Go only as far as Canada and the situation looks different than *check notes* Philly. Look further like at say Mongolia and their argument falls apart.

I don't like to post about my education or work on the internet but even in my field we covered aspects of disposal of waste in large communities that pokes holes in their current angry vague posting about straw men who disagree with them.

It seems there is some confusion. I am in a doctoral program. I have taken four classes on sociology and seven on psychology. One of the courses I took was specifically on the overlap between sociology and pollution. My focus in that class was on India, which at the time was very close to overtaking China as most populous.

[cryptobully-blog]

Did Futures Markets Dampen Bitcoin Price and the Entire Crypto Industry?

http://cryptobully.com/did-futures-markets-dampen-bitcoin-price-and-the-entire-crypto-industry/

Did Futures Markets Dampen Bitcoin Price and the Entire Crypto Industry?

Join our community of 10 000 traders on Hacked.com for just $39 per month.

Late last year, the cryptocurrency community highly anticipated a surge in bitcoin price after the launch of the bitcoin futures market operated by the Chicago Board Options Exchange (Cboe) and CME Group, two of the largest options exchanges in the global market.

Almost immediately after the entrance of Cboe and CME Group in the cryptocurrency market, the price of bitcoin started to surge rapidly. Within weeks, the price of bitcoin peaked at $19,000, surpassing $24,000 in South Korea.

Extreme Volatility

But, as it did on the upward movement, the price of bitcoin fell quickly from its peak at $19,000 to $6,000, experiencing the third worst correction in its history with a 72 percent decline from its all-time high. Currently, the price of bitcoin remains at $7,400, the price of bitcoin in early November.

The January correction of bitcoin has been brutal, and it sank the entire market with it. More or less, most cryptocurrencies in the market followed the price trend of bitcoin over the past few months and bitcoin has actually outperformed most cryptocurrencies in the market throughout 2018.

Cboe and CME launched their bitcoin futures market in the first week of December. Prior to the launch, CME chairman Leo Melamed confirmed the plans of CME to launch its bitcoin futures market as early as November. On November 7, as CCN reported, Melamed stated:

“That’s a very important step for bitcoin’s history…We will regulate, make bitcoin not wild, nor wilder. We’ll tame it into a regular type instrument of trade with rules.”

The optimism and enthusiasm displayed by both Cboe and CME executives led the cryptocurrency market to highly anticipate a short-term surge in the volumes and prices of cryptocurrencies. Within weeks, the price of bitcoin nearly tripled, and other cryptocurrencies like Ripple and Tron enjoyed a significant increase in value.

However, the cryptocurrency market and investors within it failed to acknowledge that prior to the futures market, the global cryptocurrency market wasn’t all that liquid, and daily trading volumes across most exchanges were relatively low. The low liquidity of the cryptocurrency market made it easier for retail traders and institutional investors in the public market to manipulate the prices of cryptocurrencies.

Earlier today, on March 29, the bitcoin futures market on both Cboe and CME options exchange saw record volumes. Yet, the price of bitcoin fell from $8,000 to $7,300. There has not been much interest in the cryptocurrency market from institutional investors and retail traders in the west, whereas in regions like Japan and South Korea, institutional investors have already started to invest in the market.

Cryptocurrency remittance firm Abra CEO Bill Barhydt stated:

“There really is zero large-scale institutional money from the west in crypto right now. That is happening in Japan. Once a large sizable chunk of Western institutional money starts to come in — watch out.”

Where is the Market Now?

The price of bitcoin is exactly where it was prior to the launch of the bitcoin futures market in November. One optimistic takeaway from the past 4 months could be that in comparison to October and November of 2017, volumes on cryptocurrency exchanges excluding the futures markets in the US have increased.

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