Where Can I Buy 'The Dog Stars' Signed By The Author?

Stacking Nikki Sixx's fortune against other rock stars is kind of a fascinating reminder that fame and money don't always travel together in a straight line. I usually see his net worth estimated in the ballpark of roughly $80–100 million, which is a very healthy number — especially for someone coming out of the hard-partying, ups-and-downs glam-metal scene. That cash comes from a mix of long-running songwriting royalties (he's co-writer on a huge chunk of 'Mötley Crüe' hits), decades of touring, publishing and licensing deals, a couple of bestselling memoirs and the money that flowed from adapting 'The Dirt' into a film. He also diversified: radio projects, photography and various side ventures helped stabilize income after some rough patches in the '90s and early 2000s. If you stack him next to the absolute top-tier of music billionaires and near-billionaires, Nikki lands lower — massively famous acts like Paul McCartney or members of the classic rock elite are in a different financial universe because of songwriting catalogs, decades of publishing and massive catalog sales. But compare Nikki to many of his peers in the hard rock and metal world, and he’s comfortably near the top. He’s generally better off than many glam/metal contemporaries who didn’t hit the same songwriting or licensing sweet spots, and he’s often in similar territory to other long-career rockers who kept touring and kept their names active. For contrast, guys who stayed on the road continually or who sold their catalogs at the right time can eclipse or trail him depending on timing and business choices. What I like about his story is that his net worth is as much a story of resilience as it is of hits. Money can spike and fall with big reunion tours, catalog deals, or a popular movie like 'The Dirt'. Taxes, bad contracts and wild spending can eat into peaks, but continuous royalty streams and a recognizable brand keep a baseline wealth that many artists never reach. For fans, the number is interesting, but the legacy of the music — the way a riff or lyric sticks with people — is what feels biggest to me, even if the dollars tell an impressive backup tale.

If you're hunting for a free piano version of 'Rewrite the Stars', there are definitely options — but the quality and legality vary, so I usually approach the search like a little scavenger hunt. First stop is MuseScore.com: lots of folks upload their arrangements there, from super-simple beginner sheets to more involved transcriptions. Some are free to download, others you can view in the browser or download as MIDI to import into notation software and tweak. YouTube is another goldmine — many pianists post tutorial videos with on-screen notation or link to printable PDFs in the description (just double-check whether that PDF is user-made or an official licensed score). Beyond that, sites like MusicNotes and Sheet Music Plus sell licensed, polished arrangements if you want the official thing. If I want a quick practice piece I sometimes grab a free lead sheet or chord chart from chord sites and make my own left-hand pattern; it’s a fun way to learn ear-training too. Personally, I tend to buy the official sheet eventually because the professionally arranged version saves practice time and it feels good to support the creators, but free user arrangements are great for getting started.

You can translate the 'lirik lagu' of 'Stars and Rabbit' — including 'Man Upon the Hill' — but there are a few practical and legal wrinkles to keep in mind. If you’re translating for yourself to understand the lyrics better, or to practice translation skills, go for it; private translations that you keep offline aren’t going to raise eyebrows. However, once you intend to publish, post on a blog, put the translation in the description of a video, or perform it publicly, you’re creating a derivative work and that usually requires permission from the copyright holder or publisher. If your goal is to share the translation widely, try to find the rights owner (often the label, publisher, or the artists themselves) and ask for a license. In many cases artists appreciate respectful translations if you credit 'Stars and Rabbit' and link to the official source, but that doesn’t replace formal permission for commercial or public distribution. You can also offer your translation as a non-monetized fan subtitle or an interpretive essay — sometimes that falls into commentary or review territory, which is safer but still not guaranteed. Stylistically, focus on preserving the atmosphere of 'Man Upon the Hill' rather than translating line-for-line; lyrics often need cultural adaptation and attention to rhythm if you plan to perform the translation. I love translating songs because it deepens what the music means to me, and doing it carefully shows respect for the original work.

Standing next to him on screen, Tyrus reads as one of the bigger presences you'll see on cable TV — and that holds true behind the camera too. He's commonly billed around 6'7", and when you put that next to many of his co-hosts the difference is obvious. For instance, a lot of Fox panelists and comedians hover in the 5'2"–6'1" range depending on who you look at, so he often towers over folks like Dana Perino or Kat Timpf while being noticeably taller than Greg Gutfeld or Tom Shillue. Beyond simple numbers, I've watched clips where camera angles and footwear subtly change how height reads: heavier shoes, higher chairs, and camera placement can nip a few inches visually. But off-camera, in studio halls or press lines, the 6'7" billing feels real — he fills vertical space in a way that makes group shots feel weighted toward him. I like that contrast; it makes the panel dynamic more visually interesting and, honestly, a little theatrical in a fun way.

Whoa, seeing your dog with a droopy face can feel like a punch to the gut, and I’ve been there watching a pup look off-kilter and wondering what to do next. If the droop appears suddenly — like overnight or after a known injury — I treat it as urgent. Sudden facial droop can come from facial nerve paralysis, a bite or blunt trauma, a stroke-like event, or even tick paralysis in areas where ticks are common. If it’s accompanied by trouble breathing, swallowing, excessive drooling, weakness on one side, or rapid changes in behavior, I’d head to emergency care immediately. For milder, gradual drooping with no other red flags, I still call or visit my regular vet within 24–48 hours so they can examine for infection, dental abscesses, ear disease, or signs of a neurological issue. I always take a quick video showing the droop and note when I first saw it — that saved time during one frantic visit. Bottom line: sudden + severe = go now; gradual or isolated = vet within a day or two. Personally, I sleep better knowing I’ve got an appointment booked when something like this shows up.

I've had a soft spot for awkward-faced dogs my whole life, and when one of my foster dogs developed a visibly droopy face after an ear infection, I learned a lot quickly. First thing I found out was that surgery choices depend on what’s causing the droop. If the facial nerve is being compressed by middle ear disease, a ventral bulla osteotomy to clear infection and decompress the nerve can sometimes restore function. If the nerve was cut or severely damaged, direct nerve repair or nerve grafting (using an autologous graft like sural nerve) may be recommended by a specialist. For chronic or irreversible paralysis, surgeons often do static or dynamic procedures: static options include fascia lata slings or cheiloplasty to support the lip and reduce drooling; dynamic options include muscle transposition such as temporalis muscle transfer to help lift the lip and corner of the mouth. Eyes are usually the most urgent concern. To protect the cornea we used temporary tarsorrhaphy and conjunctival flaps while waiting to see if function returned. For long-term eyelid protection, partial permanent tarsorrhaphy, medial or lateral canthoplasty, or eyelid sling procedures can be done. Recovery and prognosis vary — some idiopathic facial paralyses improve in weeks to months without surgery, while traumatic or neoplastic causes may need early surgical repair. Watching that dog regain some symmetry after a temporalis transposition was quietly joyful, and it made me realize how much small operations can change quality of life.

Visiting the world of 'Webster' is like stepping into a delightful blend of humor and heartwarming moments. One quote that truly sticks with me is, 'In this family, we love each other— no matter what.' It captures the essence of a found family, embracing love and acceptance beyond blood ties. It really resonates in today's world, where we often see families that aren’t traditional but are just as strong. Another gem is, 'You don’t have to be perfect; you just have to be you.' That line serves as a sweet reminder of self-acceptance. I find it relatable on various levels, especially when juggling life’s expectations. Then there’s the classic, 'Laughter is the best medicine, but love is the cure.' This reflects how laughter plays a crucial role in healing and forming connections. In a show filled with funny incidents, it’s those quiet moments of love that leave a lasting impression. Each quote encapsulates the charm and life lessons we can all take away from the series. It’s one of those shows that I can go back to time and again, soaking in the wisdom in between the laughs. Ultimately, 'Webster' isn’t just entertainment; it’s a source of inspiration, reminding us of simple yet profound truths about relationships and self-worth.

I got pulled into this movie years ago and what stuck with me most were the performances — the film 'Something Wicked This Way Comes' from 1983 is anchored by two big names: Jason Robards and Jonathan Pryce. Robards brings a quietly fierce gravity to Charles Halloway, the worried father, while Pryce is deliciously eerie as the carnival’s sinister leader. Their chemistry — the grounded, human worry of Robards against Pryce’s slippery menace — is what makes the movie feel like a living Ray Bradbury tale. Beyond those leads, the story centers on two boys, Will and Jim, whose curiosity and fear drive the plot; the young actors deliver believable, wide-eyed performances that play well off the veteran actors. The picture itself was directed by Jack Clayton and adapts Bradbury’s novel with a kind of moody, autumnal visual style that feels like a memory. If you haven’t seen it in a while, watch for the way the adults carry so much of the emotional weight while the kids carry the wonder — it’s a neat balance, and I still find the tone haunting in a comforting, melancholy way.