Tuesday, June 25, 2013

How to Open a Lock with a Paperclip


  1. 1
    Unfold your first jumbo paperclip into your lock pick. In order to do this, unfold a large edge of your paperclip twice until a straight portion juts out.

    • Some locksmiths also put a tiny upward bend into the tip of the pick. This is to depress the pins inside the lock, but is not strictly necessary.

  2. 2
    Unfold your second jumbo paperclip to make your tension wrench. Your tension wrench will be what you turn the lock with; you'll apply pressure to the lock with your second paperclip while you pick the lock with your first paperclip.

    • There are several ways to make a tension wrench out of a paperclip:
    • Unfold an edge of your paperclip until a straight portion sticks out at a 90° angle. This is a basic tension wrench that is workable but not ideal.

    • Take out both bends in the jumbo paperclip until two straight wires meet at a curve at the end. Press the curved end down with a wrench. Make a 90° bend in the curved end that's about 1 cm long.

  3. 3
    Insert your tension wrench into the bottom of the keyhole, applying rotational pressure to one side. A small amount of pressure is essential while you're picking the lock.

    • If you know which way the lock turns in order to open, turn the tension wrench in that direction. If you don't know what direction the lock opens, guess to one side; on the first shot, you'll have a 50/50 chance of opening the lock.

    • If you have a sensitive touch, you can also feel which way the lock opens by turning with the tension wrench. Turn clockwise first, then counter-clockwise. You'll feel slightly less pressure when the wrench turns the right direction.

  4. 4
    Keeping pressure on the tension wrench, insert the pick into the upper part of the keyhole and begin "raking." Raking is when you insert your pick to the back of the keyhole and remove it quickly while jiggling the pick upward. Do this a couple times to potentially set a few pins.

  5. 5
    Keeping pressure on the tension wrench, try to locate the pins inside the keyhole using your pick. Most American locks will have at least five pins that you'll need to set in order to open the lock.

  6. 6
    One by one, and starting at the back of the keyhole, depress the pins. While doing, be sure to apply rotational pressure to your tension wrench. You should feel a slight give when you set the pins to their unlocked position, or even a slight clicking sound.

    • Experienced lock pickers can do this in what looks like one swift motion, but inexperienced pickers will need to use more deliberate motions to set each pin.

  7. 7
    Applying more and more pressure with the tension wrench, jiggle the pick until each pin unlocks. When you hear a snap or click, be sure to rotate the tension wrench to unlock the lock.

  8. 8

ABA Reports That the Kobo Partnership With Indie Booksellers is Now Twice as Large as the Google Partnership it Replaced

ABA Reports That the Kobo Partnership With Indie Booksellers is Now Twice as Large as the Google Partnership it Replaced

Saturday, June 8, 2013

5/23/2013 -- Global Earthquake Overview -- Pacific unrest -- Volcanic EQ Uptick


God I love dutchsinse.

thank goodness my mother found this gentleman's youtube channel.

otherwise I wouldn't be totally terrified about yet another awesomely powerful conspiracy/global fuck-up (pardon my french, mother dearest, I'm only bleeding).

Friday, May 31, 2013


Cast Net General Information

Wherever you may fish, live bait is always the best lure. To save time and money, you need to keep live bait ready. Cast netting is the most economic tool for catching your own bait. You can also use a cast net to catch shrimp, larger fish, mullet, etc.
Cast netting is very popular, either in fresh or salt water, and can be used in different applications from Sport to Commercial fishing. Many people use cast nets, from kids to experienced professional fishermen, almost everywhere in the world.

Parts of a cast net


  • Swivel: two metal loops or rings attached together, that turn at both ends.
  • Hand line: a rope which is attached to the swivel on one end, with the other end attachded to the caster's wrist.
  • Horn: a ring with an indentation around the center, where the top of the net is tied.
  • Lead Line: a rope with sinkers attached. This rope is at the outside perimeter of the net to sink it.
  • Brail Lines: lines attached to the swivel at one end and to the leadline at the other. Their function is to pucker the net, thus trapping the catch.
  • Netting: made from nylon multifilament or monofilament to form the desired mesh.


Throwing the net creates a driving force that causes the lead line to open the net to a flat form, the lead weights then sink the net. After the net has sunk, and the brail line is pulled, the lead line is forced to close,thus, creating a pouch in the net which holds the catch, trapping a school of shrimp or fish. After pulling the net from the water, opening the leadline will cause the catch to fall out.

With net straightened and lying between your feet, fasten the tag end of the retrieved rope to the right wrist. Then coil the rope in small coils and hold them in your right hand. Place the throat of the net on top of the rope coils in your right hand. Then slide your left hand about a third of the way down the net.

Coil the length of the net you just measured and place it in your right hand. Now slide your left hand down the net to crotch level. Make a coil of this second length of net and also place it in your right hand. You should now have two roughly equal coils of net in your right hand and about two-and-a-half feet of net left dangling.

Kneel on your right knee and place your left foot forward. Pull one loop of the lead line from the rear of your bundle and lay that loop across your right elbow as far as it will go without pulling in your right hand.


Starting at your right elbow, go clockwise around the lead line for approximately four feet. Now lay that lead line over your left thigh. Continue in a clockwise manner and lay the net across your left thigh until you have approximately half of the remaining net and lead line draped across your left thigh. You should now be supporting half of the lead sinkers with your left leg and the other half with your right hand.

With the net divided into roughly halves, put the pinkie finger of your left hand through the net mesh of the first lead line that you laid over your left thigh. The proper location is through the bottom mesh (next to the lead line) right on top of your left thigh.

This is the way your left hand grips the net. The pinkie finger is through the mesh at the lead line and the third finger lays by the pinkie as a sort of guard. The mesh of the net is held between the thumb and first two fingers and rests against the top of the third and pinkie fingers.

This is what the net looks like when you are holding it properly and are prepared to throw it. 
The small loops of the line and two loops of the net are held in the right hand. The retrieval line is tied around the right wrist. One loop of lead line lies across the wrist. One loop of lead line lies across the right elbow. Approximately half of the lead line is supported by the right hand and is hanging about two and a half feet below the right hand. The balance of the net and lead line is held in the left hand and in the grip described in Illustration 6. The lead line is hanging about a foot to a foot and a half down from the left hand. Note that there is no call for lead line held in the mouth or for draping wet net across your shoulder.

The windup is the first part of the throw. Ideally the left foot is forward and pointed about 45 
degrees to the right of where you intend to throw. The right foot is behind the left at just over the
shoulder width distance, and is roughly parallel. Rotate your arms back to the right and shift your weight to your right foot. As you spin back forward your weight will shift back to your left foot. The throw is more of a slinging motion in which both arms naturally extend to aim the net. 
The release is just to let go with your hands. The net will naturally peel off your right elbow andoff your left pinkie finger. Experience and practice will help perfect your aim.

With a little practice you can have results like this, also. This is a truly easy method of throwing the big cast nets. It is an easy method that uses gravity and centrifugal force to open the net. A caution is that this method does not work on smaller nets. It overpowers the smaller nets due to their lack of weight. An excellent way to practice, without getting wet, is to throw the net in your back yard. Grass is an excellent cushion and allows you to see how the net opened. You can practice from ground level or you can use a pickup tailgate to give you some elevation. An old tire makes an excellent target for improving your aim. Remember, practice makes perfect.

Choosing Nets Correctly

Depending on what kind of catch is targeted, examples are shrimp, pin fish, shiner, mullet, sardine, etc., the correct size of mesh and net will provide more accurate hauls. As with any fishing equipment, the bigger the targeted catch, the bigger size of mesh and stronger netting material needed.

1" - 3"1/4"SQ (1/2" STR.)5 - 9 LBS
3" - 6"3/8" SQ (3/4" STR.)7 - 15 LBS
6" - 9"1/2 " SQ ( 1" STR.)9 - 20 LBS
9" - 12"5/8" SQ (1-1/4" STR.)12 - 25 LBS
12" OVER1" SQ. OVER (2" STR. and OVER)20 LB and OVER

Cast Net Care

The most important thing in cast net care is rinsing your net after every use. Washing the net not only washes away the salt water; it also removes fish particles and slime remaining on the net. The fish slime is particularly harmful in deteriorating the net. Simply rinse well with a garden hose and allow the net to dry. Then place the net into a bucket or any other dry storage area. 
Sunlight is another harmful element to the cast net. Do not allow your cast net to stay in the sunlight for long periods of time. This is especially important for monofilament cast nets. Overexposure to sunlight will cause the netting to become brittle and weak.
Another secret in cast net care is fabric softener. By using fabric softener you can prevent the net from becoming stiff and help in the overall spread of the net. Just take a pail of water, add a cup of softener, and place the cast net in the pail, for about one hour. Remove the net, rinse, and store the net after it dries. This process should be done when the net is first purchased and repeated every six to eight months.

If you have any further questions, please feel free to email me or drop me a line at my office anytime and I will be glad to go over any questions that you may have.


Sunday, April 7, 2013

Q&A with Stephen Hunter, author of the Bob Lee Swagger books, on writing, aging and guns

For novelist, writing and aging aren't in conflict

Nearly every day, 66-year-old novelist Stephen Hunter does two things: He writes and he shoots. He writes about guns and then shoots them at a firing range near his Baltimore house. His knowledge of guns is encyclopedic and the details show up in his novels. Guns often give him a germ of an idea for a story.
Hunter’s newest novel, “The Third Bullet,” about the assassination of President John F. Kennedy, is the eighth in a series about a former Marine sniper, Bob Lee Swagger, who has reached the age of 66.
As a younger man, Hunter wrote and edited for the Baltimore Sun; in 1997, he became the film critic for The Washington Post. In 2003 he won a Pulitzer Prize for criticism. Hunter has written 19 novels and three nonfiction books. He is working on his 20th novel, about a female sniper in Russia during World War II.
He recently talked with The Post at a coffee shop near his home. This is an edited excerpt.
Q: Let’s talk about aging.
A: I understand that I get tireder now, but I don’t ascribe that to aging. I understand that my fine-motor coordination is all shot to hell, but I don’t ascribe that to aging. I understand that my memory is a parody of what it once was, but I don’t ascribe that to aging. I just sort of cultivate the fantasy that these things are unrelated. I am aware that that is an illusion, but for me it is a helpful illusion.
The other day, I was at a party talking to a few people, and I was up against the food table. Someone bent over to try to get something that I was in the way of and he bumped me. He said, “Excuse me, excuse me.” He was 14. I said, ‘That’s all right. I’m old. You can push me around.” We both laughed.
I enjoy doing that, but I don’t walk around feeling old.
Q: Is being old bad?
A: In and of itself, no. Being ineffective is bad, being of a complaining mood is bad, being in chronic pain is bad, being slow to react is bad, not getting it is bad. On the other hand, I am attracted to ideas of wisdom. I am attracted to the image of the old dog. I am attracted to the image of the professional with a sensibility to certain experiences that are unique. I know what I can do. I know what I can’t do.
I feel old when I have to get up to go to the bathroom for the fourth time and it’s 5 in the morning. On the other hand, getting back to bed after that event is enormously satisfying.
Q: What is easier in old age?
A: I don’t want to say I have mastered the craft [of writing books], but I feel a lot more confident. I am capable of doing things and seeing things and making things happen in ways that I was not even five years ago. I feel like I am smarter than I was 10 years ago. I feel like I’m a lot smarter than I was 20 years ago, and I feel like I’m a lot smarter than I was 30 years ago.
Q: What do you mean by “smarter”?
A: I mean book-smart. I mean understanding the systems of governance and culture. I mean sort of understanding those things that are worth investing anger or emotion in and those things that aren’t. I mean social smarts, the ability to interact with different kinds of people and to be comfortable in different, challenging professional situations. I mean verbal quickness.
Q: Tell me about your day writing.
A: I am not one of these guys who gets up at the crack of dawn and works for five hours, then has breakfast, answers the mail and works for another five hours. That is entirely too Viking-like for me.
I am a night person. I get up at the crack of noon. I spend a couple hours drinking coffee and just browsing on the Internet. It is terrible and pointless, but I do it anyways.
I have two things I do most days. I write and shoot. It depends on what my mood is which I will do first. [With writing,] I’ll work for two hours, maybe three, maybe one hour. I don’t kill myself. One of the things I’ve learned — I give speeches, and I use this in every speech I’ve ever given — is that writing a book is baseball. It’s not football. And what I mean by that is that it is a long, grinding season. You’re going to have very bad games. You’re going to have failures. You’re going to make errors. You’re going to do stupid things. You just have to trust over the long haul you will overcome all of those mistakes.
It takes more energy to get into the world of the book than it does to write the book. The more frequently you visit the book, the easier it is to get into it. That means you have to work every day. You have to make that transit from this world to that world as energy-free, as habitual, as easy as possible. Every time you skip a day, it is twice as hard the next time. If you skip two days, it’s not two times, it’s four times; it’s exponential. The way books die is that you reach a point where the energy to get back into the book overwhelms you
I’ve had books die on me [like that]. It is really painful.
Q: Your protagonist, Bob Lee Swagger, is aging. He is 66. How do you write about a guy getting old?
A: I know a lot of these professional writers whose heroes are in an eternal 34-to-38 age bracket. I can’t begin to remember how a 34-year-old mind works or body works. I know how a 66-year-old body works. I don’t recall making a coherent decision that he would age with me. He is obviously a hopelessly idealized version. I couldn’t begin to do one-thousandth of what he does, but many of his thought patterns, some of his family history and a lot of the physicality of aging is taken directly from my life, even if he is much stronger and braver and has far more stamina than I do.
Q: How about your hip?
A: I was never shot in the hip [as Swagger was]. My hip is profoundly uninteresting. One of the duller hips in Western civilization. Not even my wife is interested. I did have some pre-arthritic symptoms a few years ago where one of the qualities of my life was a lot of pain and a lot of stiffness. I may have inflated that grotesquely in his constant problems with his hip.
He is getting so old. I keep hearing, “How can this guy do this stuff?” I try to be wise about it. He no longer gets in fistfights. He no longer runs. He tries to use his intelligence as opposed to physical strength. [But] old men can shoot. Old men can be superb shots. I always have to get him in gunfights because they’re about skill, courage and cunning, and not about strength.
Q: Have your books always begun with a gun?
A: Many of my books do. I will have an image of a gun, and it will create a world and a story. For example, the very first book I wrote was called “The Master Sniper.” It was a World War II book. It did not exist until the moment I saw a picture of a German assault rifle with an infrared-mechanism night vision. I was sitting in 1978, I was sitting in the Baltimore Sun newsroom. I was the book review editor. This was in the Rand McNally encyclopedia of World War II. I saw that gun. I knew the gun, but I didn’t know the Germans had infrared until that second. And the second I saw that, I knew I had a book.
Writers have their subjects. Faulkner was obsessed with grappa. Hemingway was obsessed with the code as it plays out in extreme situations. Updike with the peccadilloes and nuances of bourgeois. Believe me, I’m not comparing myself to any of these. What I’m just saying is, you get a theme. It seems almost genetic.
From the very first second I saw a firearm, I found it incredibly interesting. To me, the gun was . . . let’s call it a cluster of possibilities, history. It was drama, behavior. It was engineering. It was manufacturing. It was ergonomics. It was action.
Q: So the shooting range is your muse?
A: I wouldn’t say the shooting periods are particularly creative. I don’t get ideas while I am shooting. This might — and it will be seen as hideous by millions of people — be a form of mind relaxation. What I do love about it is the totality of the engagement. Whatever issues I am facing are temporarily disconnected. I cease to be Steve Hunter. I cease to be a movie critic. I cease to be a novelist. I cease to be father. I cease to be an uncertain supervisor of a shaky financial situation. I am just a pair of eyes, hands, musculature of wrists and arms, and I find that purifying.
The act of shooting is very formal. In other words, every time I do it, I do it according to physical principles. Like any athletic thing, from shooting baskets to throwing touchdowns, it is fundamentally athletic. It is a function of hand, eye and muscle.
Given the amount of shooting that I’ve done, I should be a lot better than I am. I wish I were a better shot.
Q: Have you changed your stance on guns?
A: Though I am not a liberal anymore, I was for many, many years. The guns have pulled me far to the right. I will say [that] on The Washington Post, everybody was very decent to me. They understood who I was and what my beliefs were. No one ever got in my face. I’ll always be grateful to them. In that newsroom, tolerance was real.
Q: Do you still care about movies, or has that changed as you’ve aged?
A: I don’t care about modern movies. I occasionally will see a modern movie. Now and then I will go as a guilty pleasure to see some movie filled with ridiculous gunfights. One of the pleasures of my life is freedom from the America movie. In my opinion — and this is typical old-guy rant — the movies are just no longer speaking to me. One of the reasons I left [The Post] was that I could see myself becoming a parody: “In my time, we did it much better. It ain’t no good no more, no siree. I don’t know where they find these young fellas with all that hair. In my time, men had real faces.” It was time to go.
Q: That’s interesting.
A: Here is what I am surprised you haven’t asked me, but I am going to answer it anyways because I thought about it.
If you asked me for the wisdom, here is the one thing I would say for people approaching and getting ready for retirement. Three words: Avoid the bitter.
Bitter will kill you. The artists of the 20th century I most respect would be Ernest Hemingway, John Ford and John Wayne. In many ways, the same men. Alpha males.
Extremely, mythically successful with enormous sexual opportunities, enormous financial resources, able to indulge their every impulse, and yet all three of them ended up isolated, bitter and angry. That seems so tragic me.
Nobody succeeds to the degree they think they should. You have to make peace with the fact that you didn’t get exactly what you wanted and what you felt you were entitled to.
Q: How do you do that?
A: It helps to have a passion. For me, it happens to be guns and the firearm world and all of that. I always have a place to go, a place where I feel at home. If it is reading or shooting or thinking, there’s always a place where I can go which I find nurturing and stimulating. It helps enormously at the center of your life.
The second thing: I am a writer. That to me is a noble calling I fulfill very proudly.
Q: Do you ever see a day when you can’t write?
A: (Long pause.) Yeah. I’ve imagined a life without it. I see this idealized life on a small ranch out West where I’m able to shoot and work on my guns every day. I have my own range and I have my own large shop. I see that as how I might finish my life. Unfortunately, I don’t see my wife in that, because she is sophisticated and cosmopolitan. She and Montana does not compute. Nope. Does not compute.
The reality is, I will stay where I am and enjoy what I’ve got.