ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Što mene nisi pozvao na svirku?

Pa nisam ni ovu dvojicu pozvao, sami su došli. Ja ne zovem nikoga na koncerte Ventolina jer me je sramota.

http://groups.myspace.com/ujedinjenascenasrbije

ALOOO LJUDI!!!


Bend u proseku dovede oko 70 ljudi na svirku.
Pice kosta oko 140 din.
Neka je nabavna cena pica 40 din.
Neka plate sve ostale moguce troskove (porez, radnike, ...), pa po picu ne bi trebalo da bude vishe od 30 din. A kao shto znate svaki put nam donesu fiskalni racun!!!! (hahaha)
Znaci njima ostaje 70 din cistog profita.
Svako ko dodje popije u proseku dva pica, siguran sam da popije i vishe, al ajde.
Pomnozimo ove tri cifre 70 ljudi * 2 pica * 70 cist profit i dobijemo cifru od 9800 din.
No ni to nije dovoljno, nego se ugradjuju i na prodate karte.
Ja sam uveren da su oni po veceri dobri 100 eura cistog profita, MINIMUM!!!!
A shta bendovi dobijaju od toga, koji su se iscimali da dovedu ljude, lepili plakate,.... A da ne pricam o vremenu i trudu i novcu (oprema, odrzavanje opreme, iznajmljivanje studija,....) da bi napravili taj repertoar. Shta su dobili pa jedno veliko NISHTAAAAAAAA!!!

A oni zive od nas, i to dobro zive od nas. Oni samo petkom i subotom mogu da racunaju na neku posecenost. Ko bi njima dolazio u klub ostalim danima da ih mi bendovi ne dovodimo. Znate ko, NIKOOOO!!! Takvih dana u mesecu ima 20 * 100 eura to je 2000 eura.

A oni ce vam prodavati pricu kako nemaju para i shta ti je znam!!

Dok oni isisavju poslednju kap rokenrola, shta mi pricamo:
"MAMU IM JEBEM GRANDOVSKU PICKA IM MATERINA!"
A oni nas tapshu po ramenu, a iza shanka trljaju ruke i broje pare!

Koje je reshenje , pa klasican sindikat, da se ujedinimo i dogovorimo za minimalnu cenu pod kojim cemo svirati u nekom klubu. Ako budemo dosledni i slozni, i kazemo mi cemo da sviramo pod tim i tim uslovima. Kad gazde tih klubova ostanu bez 2000 eura mesecno i kad im klubovi budu prazni. Shvatice da nemaju izbora i da moraju da plate.

A ni oni, a pogotovo mi ne shvatamo bitnos te stvari. Taj novac koji bi dobili od svirke ulozili bi u opremu, u novi snimak, samim tim bi dobili na kvalitetu. Kvalitet ce povuci da vishe ljudi dolazi na svirke, shto odgovara i njima i nama. Takodje ako su bendovi adekvatno placeni za svoj rad, automatski povlaci njihov ,tj. nash, mnogo veci osecaj odgovornost prema svici. Odgovornost povlaci kvalitet, kvalitet povlaci publiku. Tako da bi u dogledno vreme umesto 70 ljudi u proseku bilo bi 140 ljudi po svirci. Shto bi bilo u interesu i bendova i klubova.



ROKENROL U SRBIJI NIJE CENJEN!!
ZBOG CEGA?
JRE NEMA CENU!
AJMO DA NAPRAVIMO PRVI KORAK, CENA JE TA I TA!


PLAN A:
1) Napravimo spisak bendova koji su zainteresovani da podrze ovu akciju.
2)  Zajednicki se dogovorimo o uslovima koje cemo da postavimo pred klubove. Uslovi moraju da budu realni, sa jedne strane da ne trazimo brda i doline, ali i sa druge strane da ne budu preskromni.
3) Kada se utvrdi tacan broj bendova, napravi se konacan spisak sa imenima i prezimenima svih clanonova svakog benda i potpisom. Jasno definisani uslovi pod kojima cemo svirati u klubovima.
4) Date spiskove i uslove dostaviti klubovima.
5) Cekati povratnu informaciju.
6) Ako to ne izazove nikakav efekat. Pomenute spiskove i uslove dostaviti svim mogucim medijima.
7) Ako i to nista ne promeni idemo na PLAN B


PLAN B
1) Registrujemo organizaciju (tj. udruzenje gradjana), za zastitu nashih prava.
2) Napravimo sedishe koje ce i ujedno biti i klub za odrzavanje svirki. Takva vrsta kluba zasigurno ima poreske olakshice.
3) Stavimo jeftine cene pica, besplatan ulaz, tj pravo na ulaz imaju samo clanovi organizacije, cime cemo povezati mnogo vishe ljudi.
4) Bendovi koji sviraju dobijaju procenat od pica, shto znaci koliko ljudi dovedu toliko ce i para da dobiju. Ostatak para ce sluziti za ulaganje u klub, opremu za klub itd.

Znam da je plan B zahtevan, ali mislim da je plan A ostvarljiv, samo zavisi koliko budemo slozni i dosledni u nashim uslovima.



JEDNO JE SIGURNO, NISHTA SE NECE PROMENITI AKO MI NISHTA NE CINIMO DA SE PROMENI!!
UJEDINJENA SCENA, JAKA SCENA!!
ROCKAJ SRBIJO!!!



ps. To shto ja ne volim neki bend ili mi se ne svidja muzika koju svira ili me nervira neki lik iz nekog benda, nema nikakve veze sa ovim. Na kraju krajeva svi mi sviramo u istim tim klubovima. Moramo da prevazidjemo razlike i da se ujedinimo zarad zajednickog interesa, jer to je jedini nacin.

Quote from: DušMan on 23-06-2009, 04:55:47
Sta preporucujes od njega? Eagle: the Making of an Asian American President?

Odgovor ovde. Tamo ćeš naći i više od toga.

Quote from: cutter on 23-06-2009, 21:37:33
http://groups.myspace.com/ujedinjenascenasrbije

Vido sam to, mislim da su ostavljali to i po mom majspejsu. Prestar sam ja da bih se time bavio, ali podržavam...

Mehmete, šta kažeš da organizujemo jedan kolektivni man date i odemo da overimo TAKEN na velikom ekranu sa sve navijanjem, histerijom i sl.?

Zvuči dobro, samo da uspem da to uglavim u svoj busy schedule.

Bilo bi fino da pođe i DušMan pa da eventualno reenactujemo čuvenu scenu iz Bertolučijevog filma XX VEK

It's a date!

Mada ja, filmska neznalica kakva jesam, ne znam o kojoj se tu sceni radi...

Quote from: crippled_avenger on 24-06-2009, 16:12:12
Bilo bi fino da pođe i DušMan pa da eventualno reenactujemo čuvenu scenu iz Bertolučijevog filma XX VEK

ko će tu da bude epileptična kurva?

Ja sam imao ideju ko će, ali znajući nas, verovatno ćemo se smenjivati.

ManOwaR – Otac 

14 bizarnih japanskih igračaka

Omiljena mi je



jer dokazuje da je Isus bio robot. 

Naravno da jeste, tek si sad otkrio?

Quote from: villa on 06-07-2009, 22:12:52
Naravno da jeste, tek si sad otkrio?

Oni koji me duže poznaju znaju da često kasnim i deceniju-dve. 

Jesi i ti jedan od onih lažno skromnih ( kao Meho npr.) ?

Ja sam pre skromno lažan. Zar stvarno misliš da ću ti odgovoriti iskreno ako volim da se pretvaram? 

Hahaha....pa i iz neiskrenog odgovora se takođe može mnogo toga zaključiti.

Nisam ja lažno skroman, ja sebe iskreno mrzim.

Eto jedne neiskrene izjave.

Hari Poter Hari je MILF hunter...

http://www.imdb.com/news/ni0868708/

Svašta, pa koji tinejdžer se ne loži na starije???

Da, to bi bilo kao da se covek Mehmetovih godina ne lozi na jailbait. 

  Hmmmm... da... da, baš tako.

Deluje predivno, pogotovo je sjajan ovaj touch sa cenzurom. 

Ima to da se skine negde ili je ovo samo mock-up plakat?

Quote from: Meho Krljic on 14-07-2009, 10:35:10Ima to da se skine negde ili je ovo samo mock-up plakat?

Enjoy!

http://rapidshare.com/files/254652448/Hypertphynialsrl.part01.rar
http://rapidshare.com/files/254670022/Hypertphynialsrl.part02.rar
http://rapidshare.com/files/254684810/Hypertphynialsrl.part03.rar
http://rapidshare.com/files/254702379/Hypertphynialsrl.part04.rar
http://rapidshare.com/files/254726485/Hypertphynialsrl.part05.rar
http://rapidshare.com/files/254751693/Hypertphynialsrl.part06.rar
http://rapidshare.com/files/254770371/Hypertphynialsrl.part07.rar
http://rapidshare.com/files/254785026/Hypertphynialsrl.part08.rar
http://rapidshare.com/files/254799390/Hypertphynialsrl.part09.rar
http://rapidshare.com/files/254815489/Hypertphynialsrl.part10.rar
http://rapidshare.com/files/254837739/Hypertphynialsrl.part11.rar
http://rapidshare.com/files/255249306/Hypertphynialsrl.part12.rar
http://rapidshare.com/files/254993477/Hypertphynialsrl.part13.rar
http://rapidshare.com/files/255027251/Hypertphynialsrl.part14.rar
http://rapidshare.com/files/255057053/Hypertphynialsrl.part15.rar
http://rapidshare.com/files/255211984/Hypertphynialsrl.part16.rar
http://rapidshare.com/files/255282419/Hypertphynialsrl.part17.rar

Rar Password: None

1.56 GB file in .mkv format.
Making of featurette included.
Still no english subs.

Ovo je rađeno po Henmaruu Maćinu (Henmaru Machino). Možda ne direktno, ali idejno, to je to. Ja inače smatram da je 99,99% ideja koje se pojavljuju u japanskim filmovima preuzeto iz mangi.

Šta god da je, 1.5 gigabajta u mkv formatu je... perverzno. Pa koliki je to film? Osam sati? Mislim, skinuće se, naravno, nije to sporno, nego sam iznenađen. Jedino ako je neki superkvalitet, što je, dakako, još lepše. Hvala Miloše!!!

trent_reznorJust had another interesting and enlightening conversation with Grant and Kristan Morrison. Repercussions to follow.about 1 hour ago from Tweetie

ima li bre negde subs za ovaj Hypertrophy Genitals Girl?

na prelistavanje deluje zabavno!

Ovo kao da je Mehmet pisao:

Радош Бајић
Бели прах

У великој акцији МУП-а Србије, у Шумадији и Поморављу, у срединама у којима је снимана наша серија, у Јагодини, Крагујевцу, у Крушевцу, у Рековцу... похапшена је множина наркомешетара и дилера смрти. Баш као што је сина Драгана јунака села које гори, пре неколико субота ухапсила филмска полиција, док је у буџаку иза кафића, недалеко од средње техничке школе, убеђивао лепу средњошколку Зорицу да су дроге много опасне. Макар су тако јавили медији.

Могу ли да одахну забринути очеви који се све грчевитије боре како да у кризи, која све дубље разара могућност егзистенције, нахране и обуку своју децу? Могу ли макар привремено да буду спокојне мајке које са бригом и стрепњом ишчекују своје синове и кћери на повратку из школе, која је одмах ту у суседству, недалеко од цркве, уз кошаркашко игралиште са поломљеним кошевима, које је обавезан декор сваке српске провинције.

Очеви и мајке могу да бирају: да самлевени у исцрпљујућој трци са сваким новим даном неизвесности, оскудице и немаштине – појма немају шта се догађа и последњи сазнају да им се дете дрогира. Да тек тада примете да им из скромног кућног буџака, иза треће даске у регалу фали веренички прстен или дукат који су поклонили баба и деда, кад им се родио унук.

Или да константно буду у пакленом страху, да им нека истетовирана, ошишана на нуларицу, набилдована будала, не пресретне дете иза ћошка школе, или испред хамбургернице, да му макар и уз ограничену присилу, не тутне опасни отров који разрађеним каналима смрти стиже са Далеког истока. Кад прође ризик од првог узимања, првог контакта са аветом наркоманије – касније све иде лакше. У стравичном ланцу омаме, пропадања и зависти, некад брже, некад спорије обавезна је испостава коначног рачуна, који сатире будућност и просперитет младости, трагично сакати и трајно упропашћује младе животе и декадентно нагриза ментално и опште здравље целокупне популације.

Са баченим употребљеним шприцевима који се могу видети у живим оградама које преграђују школска дворишта у селима, у најудаљенијим црквеним портама нашег носталгичног завичаја, у којима се некада играло младеначко коло наших очева и мајки, дакле, са зафрљаченим остацима нагорелих апотекарских тацни, и крљомцима од украдене славске свеће којом је растапан бели прах смрти – српско село и обична српска варош изједначили су се са њујоршким Бронксом, са пристанишним квартом у Амстердаму, са чувеним Сохоом у Лондону. Свет нас држи подаље од себе, непрестано нас боксује аперкатима на безбедној дистанци, тешко нас прима у своје друштво, лаже нас да ће нам колико сутра подићи рампе на границама својих уређених и ушушканих земаља, картира нам и извози технолошки отпад и старе аутомобиле – и великодушно нам омогућава да приступимо злу које нисмо измислили, о којем Вук Караџић није имао шта да забележи, о коме није писао ни Милован Глишић ни Јанко Веселиновић.

У глобалном цивилизацијском рату са наркоманијом, сви они који су мотивисани милијардама долара црног профита, у колоплету интереса који изједначава мафију са политичким и економским криминалом – траже се нова тржишта и нове жртве.

Србија је нажалост добила важно место на транзитној маршрути дроге која се у тонама транспортује из Азије у земље Западне Европе. Више се нико не изненађује на вест да је на границама наше земље откривено и заплењено толико и толико килограма те и те дроге. То је постала сурова свакодневица на коју смо се навикли. Још када се при том има у виду да нам се у залеђу отете нам прадедовине ствара монструм држава, у којој више нико озбиљан и не крије да се значајно финансира од шверца наркотика, у чему су Албанци већ и на америчком континенту потиснули колумбијску мафију – онда постаје јасно да се Србија налази у опасном укљештењу, чији исходи се сурово и судбоносно могу одразити на најмлађи и најважнији део националне популације.

Ако смо градове можда већ изгубили, а за њих се грчевито и свим средствима морамо борити, српско село, као станиште природне, еколошке, традиционалне, менталне и биолошке чистоте нашег народа по цену највећих одрицања, морамо да отргнемо из страшног загрљаја дроге. Док не буде касно.

Радош Бајић
[објављено: 12/06/2009]

Chan Hails Smith As New Martial Arts Star
18 July 2009 7:06 AM, PDT

Jackie Chan has heaped praise on Jaden Smith's martial arts skills, insisting the youngster is better at kung fu than his own son.

Will Smith and Jada Pinkett Smith's 11-year-old son has been taking lessons from the action man's stunt co-ordinator for his role in Kung Fu Kid, the forthcoming remake of the 1984 hit The Karate Kid.

And Chan has been left wowed by Jaden's dedication, after he studied Mandarin to speak with his teachers and learned the Chinese phrases for various kung fu moves.

Chan writes on his official webpage, "When he was thirsty, he gave the traditional hand gesture, putting one fist into the palm of the other, bowed and asked permission to drink some water."

And the Hong Kong star was amazed after Smith took it upon himself to learn the routine Chan showed off in his 1978 film Drunken Master.

Chan adds, "He put my son to shame! I provided my son with the best martial artists in the world, and he could not be persuaded to try it. In just two months, Jaden had learned so much. He is truly a talented boy.

"Training in martial arts is hard work. It takes years to perfect even one punch or kick. Jaden's father is a famous celebrity, and Jaden probably knows he could get away without having to work very hard. If I couldn't get my own son to train in martial arts, how could anybody else succeed?"

Quote

This is an awful and inadequate review, especially considering how this manga deserves the best review ever.

But, honestly, how the fuck do you describe this?

Little has been said in English about The World is Mine, a series as bombastic as its declarative title suggests. Translator Stephen Paul did a review a couple years back, and our own Andrew Cunningham provided his own thoughts last year. The only other mention has apparently been in an old Pulp magazine article that includes it in a list of the least-likely manga to be licensed and translated into English. In its opening chapters, the reason for this becomes evident: two would-be terrorists, Toshi and Mon, find themselves in a series of routine events that end in brief explosions of violence (courtesy of the more ego-driven Mon, seemingly disregarding the immediate consequences of those around him).

What makes the first volume and a half of the original fourteen series print run (halfway through the first volume of the five volume reprint) a difficult read is that these personal stories are interrupted and impersonally destroyed. The Toshi-Mon duo are not the only ones responsible for these early depictions of carnage; an enormous, Godzilla-sized brown bear, soon dubbed Higumadon, traverses through mountainous terrain, slowly creating its own myths as the monster kills the people it finds in its way. Eventually the attention of the media settles upon Toshi and Mon through an escalation of bombing incidents -- first in a policeman's car, then at a pachinko parlor, and finally at a police station. It is here where Arai seems content to invite readers in, as the focus becomes more committed and Very Big Questions are addressed from Toshi to the Japanese government -- all, of course, a mere diversion. Just as Arai hooks the audience in with this horrifying hostage exhibition, the situation's resolution gives way to another story where an oddly gifted, confident hunter and a meek, secretly juvenile newspaper writer track down reports about and evidence of Higumadon.



Arai gracefully juggles these different plotlines, freely moving back and forth between the two parallel stories. The pacing is just as fluid, with a range of multiple days being summed up over a few chapters to devoting an entire chapter to eight seconds. This movement creates an incredibly dynamic narrative that allows tension to build when appropriate -- such as the aforementioned bombings and hostage situation -- to a graceful slide back as Arai examines the media and political reactions to both Toshi-Mon's escapades and Higumadon, as well as the supporting characters' observations and actions.

It is, in fact, these very same characters that also provide some of the most compelling tales. Idiosyncratic traits are applied to every named-character -- including the aforementioned hunter and reporter, as well a deranged police commander and a rebellious, perverted prime minister -- making them instantly recognizable even after separation of reading the series for nearly a year. The main female character, Maria (the counterpoint to the pettiness of Toshi and the viciousness of Mon), is reintroduced after a seemingly throwaway encounter, becoming as tangibly real as a fictional character can as Arai sets his panels amidst her daily life before literally abducting the girl back into the plot. If these snapshots provide an uplifting and admirable life, then Arai's readiness to acknowledge the more sordid and depressing side of humanity must be equally respected. As news breaks out about the killer's identities, the contented lull of Toshi's parents is stolen from them. Toshi's mother, in particular, provides an utterly devastating account as the media entrenches itself into every aspect of her life, ruining and ultimately extinguishing it. Even the incidental characters, such as the couple taken into the mountains by Toshi and Mon after the police station incident, are given very human faces before they meet an ill fate as Toshi desperately tries to kill the woman as Mon watches on, laughing at his partner's struggle to finish the job.

Beyond any doubt, the violence is intensely visceral, toeing a line of sensational but never crossing it into glorification. This is primarily due to Arai's compositions and art, frequently breaking the process down to where there is only pain on the page.

This is not to say that Arai never permits a spectacle to unfold, whether it's a portrait of the fight for survival or senseless destruction of a city.

Still, where the strength of Arai's art lay at its greatest -- though likely least-appreciated by the average reader -- is the sheer range of emotion and facial structure of his characters. No one design looks like another, completely rejecting an all-too common truism in manga and anime where the Big Eyes, Small Mouths run dominant with only different hair styles and clothing to differentiate between them.

Mon especially embodies this, displaying excitement, boredom, amusement, fear, contemplation, et cetera, within one volume. Through his charisma Arai captures all moods, pivoting the narrative around his mystifying development between two extremisms as those surrounding him attempt to manipulate, destroy or curb his abrasive tendencies.

Halfway through the story, I have absolutely no idea where the end point might be, or what it will involve. What little I've read of indicates a type of large scope that defines epics, with other countries becoming involved. That a more mythical bent also is more evident comes as no surprise, either; even as obvious as Higumadon is, the first half of the series has scattered scenes of surrealism, supported by a reinterpreted mythos that Arai establishes as his own.

Yet is there an all-encompassing Message from the Author? I can only guess for now. Despite how upfront a lot of the immediate issues are, Arai is very careful of placing particular judgment or signs to help readers grasp themes too simply. Throughout these first seven volumes, loss of life occurs, as is common in real life, with no easily suggested reason. The audience is left alone to assign their own meanings to the proceedings as Arai's humanity edges closer to the edge, prepared to plunge deep into immovable and ever-present violence.

David Goodwin, Eastern Standard

It's Comic-Con week, which means that Hollywood is ready to unleash a slew of comicbook adaptation deals.

"Watchmen" producer Lloyd Levin has acquired screen rights to "Echo," a comicbook series by Terry Moore. Deal was six figures.

"Echo" tells the story of a photographer who is preoccupied with her personal problems until she gets doused by liquid metal from a military experiment gone awry. She discovers she can now harness the power of a nuclear bomb, and soon the military wants its walking weapon.

Levin also produced the "Hellboy" films, both with Larry Gordon. Levin is also a producer on the upcoming Paul Greengrass-directed Universal drama "Green Zone."

Moore's comicbook credits include the "Strangers in Paradise" series.

Comicbooks have never been hotter in Hollywood, especially after "The Dark Knight" dominated last year's box office and Marvel has successfully set up its film division to launch its superheroes on the bigscreen, such as "Iron Man."

But studios aren't just interested in caped crusaders.

"Echo," well, echoes more recent deals where studios are becoming more interested in non-superhero fare.

Chalk that up to successful graphic-novel adaptations like "A History of Violence," "Road to Perdition" and more recent hits like last year's actioner "Wanted."

Dark Horse Comics has especially prided itself on setting up its non-superhero properties at Universal Pictures in an overall production deal (Daily Variety, March 14, 2008).

Meho, siguran sam da ti je biće ovaj detalj temeljno razgalio:

Heh heh, iz koje je to emisije?

cccc... tv gerila

Moram da se autiram i kažem da na Pinku gledam samo Sanju i njen In Magazin... Nema se vremena...

Bloody-Disgusting has just nabbed an exclusive that James Wan (one of the original writers and director of the Saw franchise) will be co-writing and directing and adaptation of the popular video game franchise, Castlevania. The film originally had Paul W.S. Anderson (Death Race) as the writer/director (he'll still serve as producer), and then Sylvain White (The Losers) took the helm, but the studio has ultimately decided now to go with James Wan.

 

Wan was one of the two guys (along with Leigh Whannell) who came up with the idea for the Saw movies, as well as co-writing and directing it. He also directed the thriller-drama Death Sentence and the ventriloquist doll horror, Dead Silence. His experience with creepy horror seems really suited to the Castlevania movie, which is based on the popular Konami video game series that was first released in Japan in 1986.

The Electronic Arts hit vidgame "Dead Space" is on course to become a sci-fi/horror film, with "Eagle Eye" helmer D.J. Caruso attached to direct.

EA will produce the film with Temple Hill partners Marty Bowen and Wyck Godfrey.

The producers, EA and Caruso have been listening to takes from prospective screenwriters, and once they set a writer and EA signs off on a creative direction, they will auction the property to studios. That will likely happen in early September.

The last EA property to follow that course was "Dante's Inferno" -- a journey through the depths of hell; Universal made the deal after a four-studio bidding battle.

"Dead Space" is set in the 26th century in deep space, where an engineer who responds to a distress signal from a mining ship finds the vessel infested with monstrous creatures called Necromorphs. The creatures are human corpses, reanimated by an alien virus.

EA launched the game in 2008 and is working on the second and third installments.

"Dead Space" becomes the fifth EA title to percolate as a feature property. Aside from the "Dante's Inferno" film that will be produced by Strike Entertainment partners Eric Newman and Marc Abraham, EA is in business with Universal on "Army of Two," with Scott Z. Burns ("The Bourne Ultimatum") scripting and Scott Stuber producing. EA's "The Sims" is being developed by producer John Davis and "Mass Effect" by "Spider-Man" producer Avi Arad.

Temple Hill's Bowen and Godfrey are producing "Gears of War," a live-action adaptation of the Microsoft and Epic Games' vidgame for New Line, with Len Wiseman attached to direct and Chris Morgan scripting.

Caruso is also developing "Defender," the Gary Witta-scripted DreamWorks drama that Alex Kurtzman and Robert Orci are producing.

EA's repped by UTA and attorney David Fox, while Caruso's repped by CAA and Media Talent Group.

Evo nesto da pruzi tracak setne nostalgije Mehovom starom srcu:

http://www.wired.com/geekdad/2009/07/100-things-your-kids-may-never-know-about/

Hoho, zaista lepa i tačna lista.

Doduše, neke stvari su me naterale da se zamislim. Na primer:

QuoteTweaking the volume setting on your tape deck to get a computer game to load, and waiting ages for it to actually do it.

Ono, što jeste-jeste, neke igre su se sa kasete učitavale beskonačno, no danas, s svim mogućim instalacijama i sranjima, činjenica je da MNOGO igara ima beskonačno dugačke load timeove. Na primer, Demon's Souls, dok prođu (neprekidljivi) spleševi za sve moguće developere, izdavače i licencirane tehnologije, dok se igra uloguje na server, sinhronizuje bazu trofeja (SVAKI put kad je butujem), dok mi da dva objašnjenja o onlajn funkcionalnosti igre sa kojima moram da se složim (svaki put), zatim dok mi da da odaberem svoj savegame, pa dok se on učita - pa to je bre da poludiš. Igranje na konzolama nekada je bilo udobnije od igranja na PC-ju jer samo ubaciš disk, pritisneš dugme i  igraš se a ovo danas...

Op-Ed Columnist
An Incoherent Truth

    * comments
    * Sign In to E-Mail
    * Print
    * ShareClose
          o Linkedin
          o Digg
          o Facebook
          o Mixx
          o MySpace
          o Yahoo! Buzz
          o Permalink
o

Article Tools Sponsored By
By PAUL KRUGMAN
Published: July 26, 2009

Right now the fate of health care reform seems to rest in the hands of relatively conservative Democrats — mainly members of the Blue Dog Coalition, created in 1995. And you might be tempted to say that President Obama needs to give those Democrats what they want.
Skip to next paragraph
Fred R. Conrad/The New York Times

Paul Krugman
Go to Columnist Page » Blog: The Conscience of a Liberal
Related
Times Topics: Health Care Reform
Readers' Comments

    Share your thoughts.

    * Post a Comment »

But he can't — because the Blue Dogs aren't making sense.

To grasp the problem, you need to understand the outline of the proposed reform (all of the Democratic plans on the table agree on the essentials.)

Reform, if it happens, will rest on four main pillars: regulation, mandates, subsidies and competition.

By regulation I mean the nationwide imposition of rules that would prevent insurance companies from denying coverage based on your medical history, or dropping your coverage when you get sick. This would stop insurers from gaming the system by covering only healthy people.

On the other side, individuals would also be prevented from gaming the system: Americans would be required to buy insurance even if they're currently healthy, rather than signing up only when they need care. And all but the smallest businesses would be required either to provide their employees with insurance, or to pay fees that help cover the cost of subsidies — subsidies that would make insurance affordable for lower-income American families.

Finally, there would be a public option: a government-run insurance plan competing with private insurers, which would help hold down costs.

The subsidy portion of health reform would cost around a trillion dollars over the next decade. In all the plans currently on the table, this expense would be offset with a combination of cost savings elsewhere and additional taxes, so that there would be no overall effect on the federal deficit.

So what are the objections of the Blue Dogs?

Well, they talk a lot about fiscal responsibility, which basically boils down to worrying about the cost of those subsidies. And it's tempting to stop right there, and cry foul. After all, where were those concerns about fiscal responsibility back in 2001, when most conservative Democrats voted enthusiastically for that year's big Bush tax cut — a tax cut that added $1.35 trillion to the deficit?

But it's actually much worse than that — because even as they complain about the plan's cost, the Blue Dogs are making demands that would greatly increase that cost.

There has been a lot of publicity about Blue Dog opposition to the public option, and rightly so: a plan without a public option to hold down insurance premiums would cost taxpayers more than a plan with such an option.

But Blue Dogs have also been complaining about the employer mandate, which is even more at odds with their supposed concern about spending. The Congressional Budget Office has already weighed in on this issue: without an employer mandate, health care reform would be undermined as many companies dropped their existing insurance plans, forcing workers to seek federal aid — and causing the cost of subsidies to balloon. It makes no sense at all to complain about the cost of subsidies and at the same time oppose an employer mandate.

So what do the Blue Dogs want?

Maybe they're just being complete hypocrites. It's worth remembering the history of one of the Blue Dog Coalition's founders: former Representative Billy Tauzin of Louisiana. Mr. Tauzin switched to the Republicans soon after the group's creation; eight years later he pushed through the 2003 Medicare Modernization Act, a deeply irresponsible bill that included huge giveaways to drug and insurance companies. And then he left Congress to become, yes, the lavishly paid president of PhRMA, the pharmaceutical industry lobby.

One interpretation, then, is that the Blue Dogs are basically following in Mr. Tauzin's footsteps: if their position is incoherent, it's because they're nothing but corporate tools, defending special interests. And as the Center for Responsive Politics pointed out in a recent report, drug and insurance companies have lately been pouring money into Blue Dog coffers.

But I guess I'm not quite that cynical. After all, today's Blue Dogs are politicians who didn't go the Tauzin route — they didn't switch parties even when the G.O.P. seemed to hold all the cards and pundits were declaring the Republican majority permanent. So these are Democrats who, despite their relative conservatism, have shown some commitment to their party and its values.

Now, however, they face their moment of truth. For they can't extract major concessions on the shape of health care reform without dooming the whole project: knock away any of the four main pillars of reform, and the whole thing will collapse — and probably take the Obama presidency down with it.

Is that what the Blue Dogs really want to see happen? We'll soon find out.

Fascinantno je kako je Amerika dosledna u svojoj free spirit/ do or die filozofiji čak i u stvarim akoje se bukvalno tiču života i smrti, tj. zdravlja. S drueg strane, ovaj napis sugeriše da je to više korporativna Amerika koja se skriva iza tradicije ove filozofije.

Jay-Z's controversial "Death of Autotune" record has not only sparked a reaction from rappers but the makers of auto-tune have responded and they say the controversy is good for business.

Auto-Tune maker Antares Audio Technologies' Marketing Vice President Marco Alpert explained what Jay's popular record has meant for his company.

"The Jay-Z controversy is great," he said in an interview. 'We couldn't buy P.R. like this...I think Jay-Z said he saw Auto-Tune used in a Wendy's commercial, and that pushed him over the edge...We make no value judgments on how people use our product...It's a tool to be used by the people who buy it, and we're happy when consumers find new uses for it." (New York Times)
Hov recently spoke on his hit song and why it was a challenge for emcees to step up their rapping skills.

"Absolutely, it shook it up," Jay said about the song's impact. "It shook the town up. 'D.O.A.' for me, the meaning of it was really, it was more of a challenge than a diss record. I guess a lot of people took it as a diss record but for me it was more of a challenge. For me it was more of a challenge, you know, let's go. That's been done, we done that. That sounds good, I like the way those records sound. I'm not saying I hate auto-tune, I hate a hundred thousand people using it 'cause I don't wanna hear the same record over and over again. I'm a fan of music so that was my push to my peers, to the music business in general to a counter cultural movement. Hip-Hop is about if you're doing that, I'm doing this. Everybody doing their own thing and being individuals. I felt we were losing that." (Tim Westwood TV)
Producer No. I.D. previously said Kanye West, Cool & Dre, Don Cannon and Timbaland were each in the studio crafting it.

"Jay is the type of artist that can go so many directions," I.D. explained in an interview. "It was me, Tim, Ye, Cool & Dre, Don Cannon and a deejay. The deejay said Jay needed a record like Soulja Boy got to get the kids. The energy shifted from Kanye, he was like 'Man, enough is enough.' But then I put the headphones on and started finishing the unfinished idea I had. And Kanye was like 'Put this in there, put this in there,' and soon as I played it, all the heads went to the 'Jay-Z pocket,' and Kanye said how the chorus should be, Jay just took it and came back the next day with the whole song...[The sample] was so unique and so emotional that I knew it would cause a reaction no matter what. I wanted to try to get as close to authentic 90's style hip-hop without being limited to the 90's style program of drums." (Zach Wolfe)
Jay previously said Yeezy played a major role on the song's overall success.

"He actually sparked the idea," Jay revealed. "When he heard the beat he said, 'Man, this is just so hard! This has to be against everything -- no auto-tune, none of that type of stuff!' He didn't know what I was going to do or where I was going to take it, but it was actually his fault...After we made the 'D.O.A.' record about a month ago, we were like, 'if it's got to go, it's got to go' [from my album]. In hip-hop, our job is once a trend becomes a gimmick, to get rid of it. We've done that since the beginning of time...Now people are using auto-tune even in Wendy's commercials, and it's like, 'Oh no! That has to go!' It's become part of main culture. It's the same thing like when the old lady in Oregon starts saying, 'bling, bling.' It's like, 'I'm never saying that again.'" (Billboard)

jaoj kolko je smešan kamilko

odvedite ga

Kad čovek čuje da sad i leskovački reperi koriste autotune (ili nekakav plagin za SF koji ga imitira), stvarno mu dođe malo teško.