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This year, Studio Aandacht is running for 15 years and we have been together as a couple for 25 years. To celebrate this we treated ourselves to the newly opened Hide Out apartment in the Michelberger Hotel; The apartment consists of a big white wooden house built inside a huge loft situated in the back of the hotel. In this white house is a bedroom and top of the stairs a smaller bedroom, but we let the children stay at home in order to fully enjoy the sauna, rain shower and bathtub, and o yes on the left we also found a build-in kitchen. So you could actually hide out here if you want. In stead we went on being hero’s in Berlin…

The Union Association survived for only one season (1884), as did the Players' League (1890), an attempt to return to the National Association structure of a league controlled by the players themselves. Both leagues are considered major leagues by many baseball researchers because of the perceived high caliber of play and the number of star players featured. However, some researchers have disputed the major league status of the Union Association, pointing out that franchises came and went and contending that the St. Louis club, which was deliberately "stacked" by the league's president (who owned that club), was the only club that was anywhere close to major league caliber.

Weider had enjoyed some success as a bodybuilder but far less as a weightlifter, and vehemently disagreed with the AAU rules that Hoffman had helped draft. Requiring that a bodybuilder shoulder-press 200 pounds, for instance—something that Weider struggled and, at times, failed to do—made little sense in the context of what was essentially an aesthetic contest. Moreover, Weider argued that Hoffman was unfairly overlooking African American athletes with impressive physiques, citing Melvin Wells’s failure to claim the Mr. America crown on several prior occasions. During the late 1950s and early 1960s, Weider would attempt to remedy these oversights by using his publications to promote the careers of black bodybuilders such as Rick Wayne, Harold Poole, and Chris Dickerson. But for Weider, racial equality came second to aesthetics: He was willing to consider anyone as a possible champion, so long as they had the look he prized.

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