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Lee's Lightlance [部分編集] Category Unique Item Class Hunter Type Automatic Rifle Item Level 46 Require Level 38 Damage Type Fire Direct 11-19 Rate of fire 600 shots/min Interrupt Strength 5 Critical Chance 0% Critical Damage 0% Range 28m Ignite Attack Strength 37 Equip Cost 88 Accu, 39 Will Modification Fuel(2-3) Relic(2-3) Special Attributes Shield Penetration 66% Increases Fire Damage by 20% 12% Increased Range BEACON 3 ※上記に画像がないときはアイテム名.jpgでアップロードしてください。 [部分編集] Special Attributes 固定 Affix名 効果 ★ Penetrating? Shield Penetration 60-68% ★ Volcanic? Increases Fire Damage by 20-22% ★ Telescopic? 12-13% Increased Range ★ Masterful? BEACON 3 [部分編集] ・追加画像 関連ページ Arclight Fusion Rifle Automatic Rifles Beast of Abbadon Unique Hunter Weapons
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〝ATLAS〟とは風の国の交易都市レナールに出現した巨大な逆さの塔である。 雲よりも高く、街の七割を潰す直径を誇り、上層に向かうに従ってその巨大さは増していく。 しかし7月末に塔の主であるリリアが捕縛されると、その数時間後に崩壊。 瓦礫すらも残さず消え去った。そのため、以下は在りし日の塔の姿を記したものとなる。 元は魔界の辺境に存在していた無人の巨塔であったが、六罪王であるガイスト・ウォレンによって召喚された。 レナールはこの直前、人をバケモノに変貌させる黒い霧に包まれていた事もあり、塔の出現により壊滅。 ATLAS自体は侵入するためのロックなどはかかっていないものの、空には結界が張り巡らされているため遠距離からの破壊はできず また地上からの侵入を試みるものにはレナールの住人であった無数のバケモノが襲いかかるだろう。 現在はATLAS全体に魔術だけでなく物理的にも有効な結界が張り巡らされており これによって今後の侵入経路は塔の最下層、レナールという〝暗黒街〟を抜けた正面入口のみとなる。 『交易都市レナール』風の国の草原地帯にあった行商の地。古くから人の交わる地として栄えていたが纏衣による襲撃や、その後にガイストが黒い霧を放ち、〝塔〟を召喚したことによって完全に壊滅した。現在は巨大な塔、ATLASを中心に廃墟が並び、黒い霧の中に無数のバケモノが彷徨く土地と成り果てている。 『ATLAS探索並びにレナール奪回手段の捜索活動』 前述の通り、レナールは古くから栄えた土地であり、その地を奪ったATLASを憎み、嫌うものは数知れない。 彼らが団結して行った事業が能力者を雇いATLASへ潜入させ、その構造や何かしらの手がかりを探るというものだった。 人知を超えた巨獣との戦闘などもありはしたものの試みは成功し、全員帰還を果たした。以下は調査によって明らかになった一覧である。 構造についてATLASはメインの塔と外部の螺旋階段からなり、主に低層、中層、高層の3つに大分することができる。低層は地上から数百m地点まで、中層はそこから雲の手前まで、高層は更に先、雲より上の宙空(空が青ではなく黒く見える高さ)まで。危険度は上へ向かうほど激烈になり、そもそも外部階段を利用する場合は中層以降は空気、温度共に人の生存に適さない。 トラップ・拾得物の傾向全体的に幻覚じみた魔術トラップや、塔に由来するのだろう品が多い。中層の有る扉などは入る人によって花畑や機関室になったり、ゲーム調になることも。これらは全て塔の主によるものではなく、塔そのものの魔力による作用であると思われる。根拠としては主であるガイストが貴重な魔力源等を求めているのに対し、幽幻の宝玉が塔の内部に置き去りにされていたことまた弱点となりうる塔の構造資料を(謎解きの末とはいえ)容易に渡しているという事実のためである。以上のことから、塔の主は飽くまで所有者であり、その全てを把握しているわけではないと思われる。 守護獣レヴィアタン伝説の海魔として名を馳せるレヴィアタン(リヴァイアサンとも)がATLASの周囲を守護している。外見はクジラのようだが一角を持ち、その全長は数キロにも亘る恐ろしき巨躯を誇る。その鱗は大変強固でおおよその攻撃を寄せ付けず、多大な魔力を持ち、素手で触れれば手を切る程。そんな怪物を御するのは〝潜水服〟の人物。ある筋では人ではないという話があるほか、正体は不明だが……? 悪魔に対する加虐的側面ATLASでは複数の観点から見て、魔族。特に悪魔に対して加虐的な面が存在する。例えば屋上には一本の杭に悪魔の頭部を無数に突き刺した〝トーテムポール〟があったり反面地下にあたる場所では何人もの魔族が強制労働に就かされていたり。これは塔が魔界のものであると考えれば明らかな矛盾であり、何らかの突破口になりうるかもしれない。 『マモン』唐突に出現する扉の奥に広がる、豪華絢爛や金銀財宝という言葉がピッタリの空間が塔には在る。その主こそが肉塊に人の皮を剥いだ上半身を乗せたような異形、マモンの律する空間である。マモンは悪魔であり、当人いわく『魔界に片割れが居る』とのこと。名前からすると、あの大悪魔か。しかしそれほどの存在が何故悪魔に加虐的である空間に居るのか。少なくとも主とは友好的ではないはずである。また彼は塔に来る誰しもが会える可能性を秘めている。が、悪魔は悪魔であることを決して忘れてはならないだろう。
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キャラクター名 stlendPスキル:★愛情 :★★★厨房度 :★★★ メイン職業 弓スカ ランカークラス Class B キルクラス Class C デット数 小 所属部隊名 VIPRISK 名言 勝ち馬属性 攻め防衛半々 戦闘スタイル 総評 財布 本人への要望 講習してください 本人より 遥か昔講習を開いてた人。 元 VIPの財布 。 過去の功績ゆえに神弓のごとく書かれるが、現在弓で活動を行っておらず その姿を見た者はほとんどいない、ぶっちゃけ過大評価されすぎ。 メンヘラの匂いがしますね^^^^^;; れんたんさんくさいです^^;;;;;
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Martin Campbell-Kelly # Campbell-Kelly, Martin, et al. (2004). Computer A History of the Information Machine. Boulder Westview Press. ISBN 0813342643 # Campbell-Kelly, Martin (2005). "The User-friendly Typewriter". The Rutherford Journal (Canterbury University of Canterbury) 1 The User-friendly Typewriter Martin Campbell-Kelly 2006年1月9日 20 00 00 The Rutherford Journal - The New Zealand Journal for the History and Philosophy of Science and Technology http //www.rutherfordjournal.org/article010105.html 1.コンピューターの起源 (特集 「起源」に迫る) Campbell-Kelly,Martin 日経サイエンス 39(12) 48〜56 2009/12 0917009X 2.Real Time Reaping the Whirlwind CAMPBELL-KELLY, Martin Computer A History of the Information Machine 165-176 1996 1. コンピューター200年史 / M.キャンベルーケリー,W.アスプレイ[他]. -- 海文堂出版, 1999.10 2. ザ・コンピュータ・エイジ / M.キャンベルーケリー[他]. -- 共立出版, 1979.8 Computer a history of the information machine (27) Martin Campbell-Kelly and William Aspray -- 1st ed. -- BasicBooks, c1996, ix, 342 p., [16] p. of plates. The User-friendly Typewriter Martin Campbell-Kelly http //www.rutherfordjournal.org/article010105.html The User-friendly Typewriter 36 The Remington typewriter was the first machine to combine acceptable print quality with acceptable speed. The machine was invented by Christopher Latham Sholes, a retired printer in Milwaukee, Wisconsin, who was inspired by an article on writing machines he read in the Scientific American in 1867. 7 Sholes took out b patent /b s on his invention, and in exchange for a quarter share of these he obtained what we would now call angel funding from James Densmore, a prosperous retired printer. It is said that Sholes produced dozens of prototypes before achieving a satisfactory design. Densmore did not have sufficient funds to manufacture the machines, however, so he negotiated with Philo Remington, an Ilion, New York, manufacturer of small arms, to make them. Remington accepted the offer because his business was in the doldrums following the end of the Civil War and he had already diversified into peacetime manufactures, including sewing machines. More development work followed and the Remington No. 1 was introduced in 1874?its visual design owing not a little to the sewing machine (Fig. 2).8 The User-friendly Typewriter 40 Most of these improvements were registered in the 2600 typewriter patents that had been issued by 1905.9 Unfortunately there is no history of typewriter patents, so we do not know in detail how patent pools operated. However, a great deal of patent sharing between manufacturers clearly took place, which is why all typewriters came to look and feel pretty much the same. Most patents protected features that directly or indirectly affected usability. Many innovations may have appeared to be mere tweaks?such as the bell that warned the operator that the end of line was approaching?but their impact on usability could be profound. It was the accretion of scores of tiny improvements that made the typewriter so superbly suited to its task. It is not possible in this paper to describe all of the usability innovations. Instead I will focus on a handful of major issues The User-friendly Typewriter 50 The original Remington No. 1 was known as an “up strike” model, because the type bars struck the underside of the carriage. This meant that the line being typed was out of sight of the user, and in fact did not emerge until a further four lines had been typed. This would have made insuperable demands on the operator’s memory, and it was therefore possible to lift the carriage so that the operator could peek at the work in progress. It is not known whether Sholes was conscious of the visibility problem when he designed the up-strike mechanism. It seems likely that he just opted for the mechanically simplest solution. At all events, this design deficiency left the door open for dozens of non-patent-infringing improvements (most of which vanished into obscurity). The User-friendly Typewriter 52 For an operator seated at a desk, the optimal printing position was a front strike mechanism, so that the printed line directly faced the operator. The first machine on the market with a front-strike mechanism was the Columbia Bar-Lock, patented in 1889-91.10 The first commercial models enabled the operator to peer above the type bars to see the work in progress, but the line of sight was obscured if the operator sat too far back in his or her chair. Nonetheless, for several years the Columbia Bar-Lock “stood alone in the visible writing field.”11 A wholly satisfactory front strike mechanism that did not interfere with the line of sight was extremely difficult to achieve, and would not be realised until the Underwood No. 1 came into production in 1897. In the interim, a number of down-strike models, which printed on top of the carriage, were produced. The User-friendly Typewriter 56 A much more successful down-strike mechanism was designed by the Reverend Thomas Oliver, who applied for a patent in 1892 and founded the Oliver Typewriter Company of Chicago in 1894.13 In this very distinctive machine the inverted-U shaped type bars were stacked either side of the printing point (Fig. 4). This left the full page clearly visible, a marked improvement over previous designs. The Oliver machine was particularly robust and was bought in large numbers by the military, although it did have the disadvantage of a rather restricted character set. (It was difficult to stack many more than a dozen type-bars on top of one another. The machine had a three-row keyboard instead of the usual four rows. The basic design remained in production with very little major modification until the 1940s.14 The User-friendly Typewriter 58 Nonetheless the front-strike mechanism remained the best ergonomic design for a seated operator. A successful design was finally produced, some 15 years after the first front-strike models appeared, by the inventor Francis X. Wagner. It was the most important typewriter patent of all time.15 The patent was assigned to a New York typewriter-supplies manufacturer John Underwood, and the Underwood Typewriter Company was established for its manufacture in 1895. With the Underwood No. 1 (Fig. 5) the typewriter took its modern form, establishing the dominant typewriter design until the advent of the IBM golf ball typewriter after the Second World War. In the Wagner design, the type basket was set low, out of the line of sight, and the ribbon did not obscure the current line. When a key was depressed, the ribbon rose and interposed between the type bar and the paper; both then instantly retracted to their original position to reveal the full line of print. It was an extraordinarily elegant mechanism. The Underwood No. 1 went on the market in 1897 and was rapidly further perfected. The User-friendly Typewriter 74 The most important way of reducing noise was to eliminate the percussive action of the type bars on the platen. In 1894 an inventor, Wellington Kidder, applied for a patent for a printing action that pushed the type bar onto the platen rather than striking it.19 Kidder and his partner C.C. Colby formed a development company and “expended about $500,000 in developing the Noiseless typewriter, during the years 1904-1909.”20 The Noiseless Typewriter Company was established and a machine was placed on the market in 1910; besides the non-percussive printing action it was fully enclosed and surmounted by an acoustic cowl, characteristic of all subsequent noiseless typewriters. The machine was not a commercial success, probably because the typing mechanism was rather sluggish. Several improved machines were placed on the market, but it was only with the model 4 in 1917 that definite technical and commercial success was realised. The User-friendly Typewriter 76 Given the long, costly, patented development of the noiseless typewriter, competitors could only respond with hoods and baffles. Underwood produced a soundproof cabinet in 1922, as did Continental, Ideal, and Olympia.21 In 1923 Remington introduced a quiet version of its model 12, marketed as the Q12, which reduced noise by means of a completely enclosed frame.22 The User-friendly Typewriter 78 In 1924 Remington acquired the Noiseless Typewriter Company (one of a series of mergers that resulted in the formation of the Remington Rand conglomerate in 1927).23 Remington sold the machine as the Remington Noiseless, and gradually refined the technology by incorporating innovations from its mainstream products. Underwood made a patent deal with Remington to acquire the noiseless technology, and then introduced a noiseless version of its standard machine in 1930. Underwood advertised the machine extensively, promoting its “cushioned typing” with the slogan “Quiet as a Mouse?in a Barrel of Flour” (Fig. 6). The User-friendly Typewriter 90 The origins of the QWERTY keyboard are well known, although accounts differ slightly in their detail. Prior to Sholes patenting his typewriter in 1873, there had been many commercially unsuccessful typewriters, and these used two main types of keyboard. One type, exemplified by Samuel Francis’ “Literary Piano,” used a piano-style keyboard.29 In this machine, 26 white keys were provided for the letters, and the black keys supplied the punctuation and other characters. In the other type, exemplified by Beach’s Type-Writing Machine of 1856, the keys were arranged in three rows.30 In both machines the keys were arranged alphabetically. The User-friendly Typewriter 106 With the rise of time-and-motion studies around the turn of the new century, there was increasing interest in both keyboard layout on scientific principles and on efficient operation (see next section). For example, the Perry typewriter (1896)39 included extra keys for common words and syllables (such as as, is, and and). A keyboard design by Rowell (1909)40?one of the first patents for a keyboard rather than a complete typewriter?placed the most used letters at the centre of the keyboard (this was really a variant on the Ideal arrangement). It is not known whether these inventions found their way into products, but probably not and certainly not on any scale. Considerably later, a keyboard design by Hoke (1923)41 used a layout optimised for the 1000 most common words determined by the educationist Leonard P. Ayres.42 The User-friendly Typewriter 108 On the whole, the few novel keyboards in the patent literature (and perhaps a few more that were not patented) are not very convincing proof of network effects and user lock-in. More likely, the keyboard designs lacked any systematic testing or real scientific evidence of major benefits that might have convinced manufacturers or users to switch. The one real exception is the Dvorak keyboard, which was in a class of its own in terms of scientific justification and user testing. The User-friendly Typewriter 110 Augustus Dvorak was a professor of experimental psychology at the University of Washington, and a disciple of the time-and-motion expert Frank Gilbreth.43 Gilbreth had made studies of touch typing using the Universal keyboard, but he had not addressed the issue of keyboard layout. This Dvorak did, filing a patent in 1932 (Fig. 8) and publishing a book Typing Behaviour in 1936.44 The User-friendly Typewriter 192 8 C.L. Sholes, “Type-Writing Machine,” U.S. patent 207,559, Aug. 27, 1878. The User-friendly Typewriter 200 12 John N. Williams, “Type-Writer,” U.S. patent 442,697, Dec. 16, 1890. Williams’s first patent was issued in 1875, but he had financial difficulties establishing his business. The User-friendly Typewriter 202 13 Thomas Oliver, “Type Writing Machine,” U.S. patent 528,484,337, Oct. 30, 1894. The User-friendly Typewriter 206 15 H. L. and F. X. Wagner, “Type writing machine,” U.S. patent 559,345, Apr. 28, 1896. The User-friendly Typewriter 214 19 Wellington P. Kidder, “Key-Action for Type-Writing Machines,” U.S. patent 567,241, Sept. 6, 1896. The User-friendly Typewriter 234 29 Samuel Francis, “Writing Machine,” U.S. patent 18,504, Oct. 27, 1857. The User-friendly Typewriter 236 30 A. E. Beech, “Printing Instrument,” U.S. patent 15,164, June 24, 1856. The User-friendly Typewriter 240 32 James B. Hammond, “Type-Writing Machine,” U.S. patent 224,183, Feb. 3, 1881. Lucien S. Crandall, “Type-Writing Machine,” U.S. patent 251,338, Dec. 20, 1881. Eugene Fitch, “Type-Writing Machine,” U.S. patent 345,836, July 20, 1886. The User-friendly Typewriter 242 33 William H. Robertson, “Type-Writing Machine,” U.S. patent 439,689, Nov. 4, 1890. The machine was probably never put on the market. The User-friendly Typewriter 244 34 O. Mergenthaler, “Machine for Producing Printing Bars,” U.S. patent 317,828, May 12, 1885. The User-friendly Typewriter 246 35 George C. Blickensderfer, “Type Writing Machine,” U.S. patent 472,692, Apr. 12, 1892. The User-friendly Typewriter 254 39 Horace G. Perry, “Type-Writing Machine,” U.S. patent 552,774, Jan. 7, 1896. The User-friendly Typewriter 256 40 Sidney W. Rowell, “Type-Writer Keyboard,” U.S. patent 943,466, Dec. 14, 1909. The User-friendly Typewriter 258 41 Roy E. Hoke, “Typewriter-Keyborad Arrangement,” U.S. patent 1,506,426, Aug. 26, 1924. The User-friendly Typewriter 264 44 August Dvorak and William Dealey, “Typewriter Keyboard,” U.S. patent 2,040,248, May 12, 1936. link_trackbackcounter -
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もいちど、手作り! ドーリィの手芸再入門 グラフィック社編集部編 発行:グラフィック社 ISBN4-7661-1716-6 表紙より もいちど、手作り! ドーリィの手芸再入門 初めてのお洋服作り 針と糸でチクチクフェルトワンピース 本日開店!1/6シューズ工房 ブライス便りspecial 2 平松昭子/あるふぉ~と BEAUTY CONTEST結果発表 表紙ドール ブライス 目次 002 もいちど、手作り! ドーリィの手芸再入門 初めてのお洋服作り 針と糸でチクチクフェルトワンピース スモッキング刺繍でエレガントな少女スタイル 蜜蜂けいと アップリケとステンシルで作るチャーミーロマンティック ミカ お洋服が主役。ステキコーディネートを飾りましょ 関口妙子 本日開店!1/6シューズ工房 Saki 027 ブライス便りspecial 2 Darling Diva ダイジェストレポート ジュンコ・ウォングインタビュー Darling Divaレポート 平松昭子 Blythe BEAUTY CONTEST 2006結果発表 13 BLYTHE the lost children of the carnival ~カーニバルが来た!走り出した13人のブライス~ variety Fair リトルロッジの遊び方 アリスン・キャツマン インタビュー 新製品情報 074 ドール・コーディネイト・レシピ考 イノセント・ガールズ another track 高円寺トーク 連載 058 カナリア絵本 宇山あゆみ 066 ロッキン・ロリータ・モモリータ 小森桃子 068 It's a "wonderful" small world ちびちび人形たち 「ちびちびチキチキ水泳大会」 072 お人形服シャッフル+1 カニホル 080 おでこちゃんとニッキ「月に行く」 082 新製品情報 今すぐ欲しいお人形 102 何でも1/6計画 113 DDイベントレポート 120 恋月姫の人形万華鏡 126 コッペリアの窓から 131 Hello! Dolly! 水玉蛍之丞 132 乙女通信 第7回 134 これから開かれるお人形の展示即売会・展覧会・イベント 136 型紙と作り方 159 あひるちゃん みよこみよこ 型紙と作り方 momoko DOLL アップリケとステンシルで作るチャーミーロマンティック 【ミカ】 海と魚のアップリケ用ワンピース 秋の庭のステンシル用ワンピース ジェニー 初めてのお洋服作り 針と糸でチクチクフェルトワンピース 【おかかずみ】 フェルトワンピース 本日開店!1/6シューズ工房 【Saki(CHERRY MERRY MUFFIN)】 たまきのお洋服 リカちゃん ロッキン・ロリータ・モモリータ 【モモリータ】 お姫様(ドレス、ローブジャケット) パイレーツ(裾プリーツシャツ、ニッカボッカ、マント、コルセットベルト、三つ折りソックス) ブライス イノセント・ガールズ another track 【HIROKO(Daisy-D)】 姉猫バニラのドレスセット(ワンピース、エプロン、ソックス、リボン、ペチコート、ドロワーズ) タイニー・ベッツィー・マッコール スモッキング刺繍でエレガントな少女スタイル 【蜜蜂けいと】 スモッキングドレス 何でも1/6計画 【岸田ましか(モダンキャンディ)】 昭和っ子ベッツィー(長袖ブラウス、プリーツスカート、ハイソックス) お洋服が主役。ステキコーディネートを飾りましょ 【関口妙子】 ベッツィーのアンダーウェアセット 額飾り用衣装(ワンピース、デニムパンツ、ブラウス、ジャケット) おでこちゃんとニッキ おでこちゃんとニッキ「月に行く」 【QP】 着物/ロップイヤーうさ耳カチューシャ、足袋、草履 プチブライス リトルロッジの遊び方 【Saki(CHERRY MERRY MUFFIN)】 ワンピース It's a "wonderful" small world 【関口妙子】 人魚姫コスチューム LDDmini It's a "wonderful" small world 【関口妙子】 かえるスイムスーツ/しましまスイムスーツ 豆momoko It's a "wonderful" small world 【関口妙子】 レトロスイムスーツ 1/6ドール用 ストラップシューズ 参加作家 おか かずみ(QP)、蜜蜂けいと、ミカ(Korisu Factory)、関口妙子(four-leaf-clover)、Saki(CHERRY MERRY MUFFIN)、モモリータ、カニホル、HIROKO(Daisy-D)、岸田ましか(モダンキャンディ) その他/補足など 本日開店!1/6シューズ工房 1/6ドール用の靴。(ブライス、ベッツィー、リカちゃん、ジェニー、モモコなど) 布での作り方、合皮での作り方が載っている。 正誤表 ○コメント○ ~実際に作ってみての感想やその他この本の情報をお気軽にどうぞ 名前 コメント すべてのコメントを見る 関連項目 Dolly*Dolly(ドーリィドーリィ)既刊一覧 Dolly*Dolly vol.10 Dolly*Dolly vol.12
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Use Remote Control HUD Please equip with remote control HUD before starting setting of action parts. Settings for Action Parts The RGP-A1 has 3 action parts. fallboard is the board which was united with the front cover, and coveres the keys. Touch the fallboard to open it. Touch the front cover or opened fallboard to display menu. To close fallboard, display menu and choose "close all". If you want to do these operations with remote control HUD, Please touch the following buttons. open/close fallboard close front cover slide up flip up with light top with light 屋根は、大きな翼型の広い部分と、手前の長方形の部分とに分かれています。大きな部分に1回タッチすると、屋根が少しだけ開き、短突上げ棒(つきあげぼう)が起こされて屋根を支えます。もう一度タッチすると、今度は屋根が大きく開き、長突上げ棒が屋根を支えます。 屋根が開くと譜面台パーツが見えたと思います。そうしたら、パーツ中央の譜面台部分にタッチして、譜面台を起こしてみましょう。 さて、下の写真のような状態になりましたか? Lock/Unlock Action Parts
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LaLaの最新情報 @LaLa_info からのツイート 桜蘭高校ホスト部 CIPHER ,rules [ { "name" "AnyOther", "message" "気に入ったらシェアしてね!", "action" { "type" "button", "text" "Share this page", "verb" "share", "service" "preferred" } }, { "name" "Twitter", "match" { "referringService" "twitter" }, "message" "If you find this page helpful ", "action" { "type" "button", "text" "Tweet it!", "verb" "share", "service" "twitter" } }, { "name" "Facebook", "match" { "referringService" "facebook" }, "message" "Tell your friends about us ", "action" { "type" "button", "text" "Share on Facebook", "verb" "share", "service" "facebook" } }, { "name" "Google", "match" { "referrer" "google.com" }, "message" "If you like this page, let Google know ", "action" { "type" "button", "text" "+1", "verb" "share", "service" "google_plusone_share" } } ]}); /script !-- AddThis Welcome END -- }
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{Tom} You better stop dreaming of the quiet life Coz its the one we ll never know And quiet running for that runaway bus Coz those rosey days are few And stop apologising for the things you ve never done Coz time is short and life is cruel Well its up to us to change This town called malice Ooooh yeeah {Danny} Rows and rows of disused milk floats Stand dying in the dairy yard And hundred lonely housewives clutch empty milk bottles to their hearts {Toqether} Hanging out their old love letters on the line to dry Its enough to make you stop believing when tears come fast and furious In a town called malice Ooooh yeeah Ba ba ba ba ba da ba Ba ba ba da ba ohh Ba ba ba ba ba da ba Ba ba ba da ba Struggle after struggle year after year The atmospheres a fine blend of ice Im almost stone cold dead In a town called malice Ooooh yeeah {Danny} A whole streets belief in sundays roast beef Gets dashed against the co-op To either cut down on beer or the kids new gear Its a big decision in a town called maliiice Oooh yeeah {Tom} The ghost of a steam train echoes down my track Its at the moment bound for nowhere Just going round and round Playground kids and creaking swings Lost laughter in the breeze I could go on for hours and I probably will But Id sooner put some joy back In this town called malice yeeah Ooh yeeeah This town called malice yeeah Ohh yeeeah This town called malice yeeah