text:
Excerpt of Gangsterland, by
Tod Goldberg
By TNB Fiction
When Sal Cupertine was going to kill a guy, he'd walk right up and shoot him in the back of the head. Shoot someone in the face, there's a good chance they'll survive. Sal never messed around with a gut shot or trying to get someone in the heart. It was stupid and made a mess. You get told to kill a guy, you killed a guy. You didn't leave it up to variations in the wind and barometric pressure and all that Green Beret shit he saw on TV. No, Sal knew, you just went up and did it. Be professional about it and no one suffers.
Still, he'd begun to appreciate that sometimes a little distance wasn't a bad thing, particularly since he'd been picking pieces of those Donnie Brasco motherfuckers off himself for the last three hours. One of the guys had a mustache and Sal was certain that the hair he'd finally been able to dig from beneath his thumbnail was from him, since it was coarse and light brown and didn't have any blood on it, which meant it probably got jammed in there when he was choking him out. A mistake all around, that's what that was. But what could he do now? Three hours sitting in the backseat of a Toyota Corolla aside Fat Monte, who wasn't even fat anymore since he'd done six months and got hooked up with some steroids and had apparently hit the weights pretty hard, and all Sal had come to conclude was that he was probably only a few hours, at most, from his own death.
Not that Sal was actually afraid, at least not yet. Fat Monte hadn't taken his cell phone from him, which was a good sign; but it kept vibrating in his pocket, which to Sal meant his wife, Jennifer, was wondering where he was. She knew he wasn't exactly a nine-to-five guy, knew that when he was off doing Family business that he could be gone until the next day, or might need to jet down to Florida or over to Detroit, but even in those cases he was pretty good about giving her a heads-up that he wouldn't be back for dinner. The bosses understood that he couldn't just disappear for weeks on end without a word, now that he had a kid. Because once the wives got talking it was everybody's problem. And on this day, of all days, he told Jennifer he'd pick up a prescription for her over at the twenty-four-hour Walgreens. His son, William, was in preschool over at Mt. Carmel Academy and brought home a dozen infectious diseases a week, or at least that's what it felt like, all three of them constantly battling some kind of respiratory shit that winter. The codeine cough medicine was helping and Sal promised to pick up a refill on his way home and that all would have happened if he hadn't lost it on those Donnie Brascos. And now here he was, maybe two hundred miles outside of Chicago in the middle of the night, nothing but black farmland on either side of the highway, Fat Monte breathing through his mouth next to him, two young guys up front—a half-Latino kid called Chema riding shotgun and Fat Monte's cousin Neal driving, though he spent more time looking in the rearview mirror than at the road, which wasn't helping Sal's sense of dread.
He wasn't afraid to die, but he was afraid of how it would feel to leave Jennifer and William behind. It wasn't something he'd thought about before, but today had been full of revelations. Dying was fine. He could handle that. He was only thirty-five, but he'd had enough close calls in the past that he wasn't mystical about the process. He knew there'd come a time when he was on the other end of a gun and that would be that. But he didn't want Jennifer and William to suffer for his stupidity. This whole deal was different. Preventable. That's what kept niggling at him: Somehow all this was going to roll back on them.
He fished his buzzing phone out of his pocket. If he was going to die tonight, at least he'd see his wife's name one last time.
"The fuck you doing?" Fat Monte said, though he didn't snatch the phone from Sal's hand. Interesting.
"It's been going off all night," Sal said. He didn't answer to Fat Monte, and he wasn't about to start, so he kept himself calm, went the honest route. "My wife's sick."
"Man, cops can triangulate that shit. You gotta lose that thing."
"You think they're looking for me?"
"Oh, you think your fingerprints aren't on record? Your first mistake, and it was a doozy. A little restraint, Sal, and you'd be home right now."
"Yeah," Sal said. "Well, things got clumsy. I admit that."
"You don't have to admit shit," Fat Monte said. "Everyone already knows it's true."
Everyone. Sal hated to think about what that meant. Monte still hadn't asked for the phone, so Sal just turned it off and stuffed it back into his pocket.
One thing for certain, if it were Monte who'd fucked up, Sal would have already killed him. That much he knew. And he wouldn't have bothered with any witnesses, either, especially not the half-Latino kid, whose neck Sal could see was covered in sweat; the bosses were all about diversifying lately, not keeping to the strict Italian edict, particularly not with so many good soldiers doing time. Supply and demand and a lack of good staff turned everything upside down.
That's what got him in trouble in the first place.
Three new guys started hanging around the fringes of the Family, trying to get inside any way they could, coming up with stashes of top-of-the-line televisions, heroin, even a truck full of leather office furniture, to the point that the bosses couldn't ignore them. The TVs and office furniture were one thing, but when they produced bags and bags of the highest-grade heroin—Sal was no good on heroin, it made him twitchy and overly aggressive, but he'd been convinced to give it a taste and had something like a religious sexual experience that night—the bosses began to wonder where they were connecting from, since the Family had controlled the heroin in Chicago for the better part of a century. So they told Sal to dig around, learn what he could, and report back when he knew anything definitive.
This truth-digging expedition was a significant growth in his duties. He was good at the whole stalk-and-kill process, that was simple work, but now the Family wanted him to be the point man on the business side, too. Not just lurking in the shadows. Out in the daylight and everything. He hadn't ever shown his face to a stranger in the game. At least not a stranger who wasn't about to become a corpse. But this was a chance to become a legit player, no more midnight murders, more time with his wife and kid. Whatever. It was a chance for something better than the business of killing. He even hazarded to tell Jennifer that big things were coming for them, that if everything went right, in the next year maybe they'd be able to take a vacation or see about moving somewhere warmer, both of them sick of freezing every winter in Chicago. Jennifer was taking art classes at City College—she enrolled at Olive-Harvey all the way down on the South Side so no one would recognize her, which Sal thought was stupid since no other wives were going to go anywhere near a community college—and every other week or so she'd bring in a painting of the ocean or a drawing of palm trees swaying in the wind. Though she wasn't really much of an artist, Sal liked the idea of her one day sitting on a beach chair all day and drawing.
Plus, the downtime between jobs could be maddening for Sal, to the point that he started doing outside work just to make ends meet around the holidays and such—it was nothing to drive down to East Saint Louis to take out some Crip for a shop owner, or even over to Springfield to put one in the head of a cheating spouse—but that was also dangerous. The bosses allowed a little freelance work, but not to the level Sal had entered into recently. But when the kid is sick every other week and you don't have health insurance, man, you do what you have to do.
TOD GOLDBERG is the author of the crime-tinged novels, Living Dead Girl (a finalist for the Los Angeles Times Book Prize), Fake Liar Cheat, and the popular Burn Notice series. His essay "When They Let Them Bleed," first published by Hobart, was selected by Cheryl Strayed for inclusion in The Best American Essays 2013. He is also the author of the story collections Simplify, a 2006 finalist for the SCIBA Award for Fiction and winner of the Other Voices Short Story Collection Prize, and Other Resort Cities. Timberman/Beverly and CBS currently have Gangsterland under option. Timberman/Beverly have produced Justified, Elementary and Masters of Sex, among others.
Adapted from Gangsterland, by Tod Goldberg, Copyright © 2014 by Tod Goldberg. With the permission of the publisher, Counterpoint Press.
photo credit: Wendy Duren
TAGS: Counterpoint Press, Gangsterland, new novel, novel excerpt, Tod Goldberg
TNB FICTION is proud to showcase book excerpts and original short fiction from some of the finest writers in the world. Features have included work by Aimee Bender, Dan Chaon, Stuart Dybek, Jennifer Egan, Bret Easton Ellis, Roxane Gay, Etgar Keret, Antonya Nelson, and hundreds of other internationally acclaimed and emerging writers. Spotlighting a recent book release each week, TNB Fiction helps bring awareness of new literary fiction, from both trade and independent publishers, to readers around the world, providing a global, free-access arena for spotlighting the genre in an era of shrinking coverage among mainstream print publications. TNB Fiction has its finger on the pulse of a vibrant new generation of writers, as well as established literary greats whose work continues to shape the future dialogue of literary culture. Fiction Editor Rachael Warecki lives in Los Angeles. Her work has appeared in The Los Angeles Review, The Masters Review, Midwestern Gothic, and elsewhere, and has received residency invitations from the Wellstone Center and Ragdale. She holds an MFA in Fiction from Antioch University Los Angeles and is currently at work on a novel.
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SEGRO Plc (SGRO)
SEGRO Plc Share Price and Company Fundamentals
-32.500 (-2.472%)
869.8 - 1508.0
SEGRO is a UK Real Estate Investment Trust (REIT), and a leading owner, manager and developer of modern warehouses and light industrial property. It owns or manages 8.1 million square metres of space (88 million square feet) valued at £13.3 billion serving customers from a wide range of industry sectors. Its properties are located in and around major cities and at key transportation hubs in the UK and in seven other European countries.
REIT—Industrial / Real Estate
https://www.segro.com
Cunard House 15 Regent Street London SW1Y 4LR United Kingdom
44-20-74519100 / 44-20-74519150
SEGRO Plc paid £0.23 dividend and the ex-dividend date was 12 Aug 2021.The dividend payout ratio is 10.32%. The dividend payout ratio is defined as the amout of dividend paid divided by the earnings of the company.SGRO dividend payout ratio is less than 70. This is ideal as it gives company room to grow the dividends and also the excess earnings can be invested in company for growth.
SGRO's forward dividend amount is £0.23 and the forward dividend yield is 1.76%. A forward dividend yield is the percentage of a company's current stock price that it expects to pay out as dividends over a certain time period, generally 12 months. Forward dividend yields are generally used in circumstances where the yield is predictable based on past instances. If not, trailing yields, which indicate the same value over the previous 12 months, are used.
As of Jan 2022, following are the company executives and directors listed on SEGRO Plc.
Mr. David John Rivers Sleath CEO & Exec. Director 60 1.81M
Mr. Soumen Das CFO & Exec. Director 44 1.28M
Mr. Andrew S. Gulliford Bsc (Hons), MRICS COO & Exec. Director 58 1.18M
Ms. Ellie Rush Associate Director of Group Investment
Mr. James Power Director of Digital & Technology
Claire Mogford Head of Investor Relations
Ms. Elizabeth Blease Gen. Counsel 54
Lizzie Humphreys External Communications Mang.
Gary Gaskarth External Communications Mang.
Mr. Nick Hughes Director of Marketing & Communications
The market capitalization of SEGRO Plc is and its enterprise value is .
The SGRO's stocks Beta value is 0.45 making it 55% less volatile compared to LSE market index. Technology stocks and small caps tend to have higher betas than the market benchmark. This indicates that adding the stock to a portfolio will increase the portfolio's risk, but also increase its expected return. On the other hand utility stocks often have low betas because they tend to move more slowly than market averages.
SEGRO Plc (LSE:SGRO) Frequently Asked Questions
1. What is SEGRO Plc's Stock Symbol?
SEGRO Plc trades on LSE under the ticker symbol "SGRO".
2. What is SEGRO Plc's stock price today?
One share of SGRO stock can currently be purchased for approximately £1282.
3. How can I contact SEGRO Plc?
SEGRO Plc's mailing address is Cunard House 15 Regent Street London SW1Y 4LR United Kingdom. The company can be reached via phone at 44-20-74519100.
4. What is SEGRO Plc's official website?
The official website of SEGRO Plc is https://www.segro.com.
SGRO Financials Details
SGRO Overview
SGRO Annual Report
SGRO Balance Sheet Statement
SGRO Insider Transactions

redpajama_set_name: RedPajamaCommonCrawl


I see they announced the tractor pulls but im betting they still will have Little Guy Nationals since its a big money grab for the track. The entry fees alone pay for the purse and with having over 250 cars last year I can see them doing it again. And I doubt anyone is going to buy it for what the owner wants.
They did have offers from what I read right?
There is a rumor that someone is planning to lease Mercer this fall and run the Little Guy Nationals. That's a long time from now, anything can happen. The ULMS called their season opener at Port Royal the Chiller Thriller. Not sure what that means.
A western pa family with modifieds offered 750,000 but owner wants more. Eric turkey Williams ran little guys nationals last year and I'd imagine he would run it again.
Starting to sound like Millstream. Mercer has gone out of business I believe 3 times from the 1970's to the present, and with no economic growth in that area which would make land valuable, I'd take the 750K and run. In today's world ( of greed ), a lot of people think things are worth a lot more than what they're really worth. Hopefully the owner will sell it at a logical price so that yet another new owner can give it a try. If it sits idle for a year or two, survival will be difficult. That area has lost Hickory Speedway and Sportsman's Speedway in the not too distant past, and I see where Tri City is only racing a few shows this year. Despite the dust , I've alwys liked Mercer, and I hope someone who likes racing and has operating capital takes it over. Years ago Mercer held one of the larger events in that area, the " Western Pennsylvania Sprint Car Championship ".
I like mercer too and went quite often just a few years ago when wcs ran Friday nights. Mercer had descent car counts in all divisions then too. Not sure what happened in all the divisions but in the 410 it seemed that the purse was just too low and the fans didn't support the 410s at that track. Even when the allstars came it was still a small crowd. I have argued with other fans on facebook about the shape of the track not being ideal or entertaining for 410s. Cant pass and turns 3 and 4 are so tight if you get a good run going then boom..... your bouncing the right rear off the front stretch wall. If they had a clue the best thing they had going every year was little guy nats and they should of realized having no 410s would of been a better idea. Moving forward Sharon and Deerfield are growing strong in the area and all the divisions have been gobbled up but mercer is a modified track in my opinion. Hopefully it sells and they run modifieds weekly. 305s are a mess in that area with the winged Alleghany touring racesavers and now the rush wingless. All the ohio 305s are built motors so I wouldn't bother trying to lure the fast 305s over and focus on the crate 305 in the area. Time will tell but it needs a new owner and a new vision.
Speaking to the 305s. Atomic has shifted to an open 305 rule this year. Wonder if anyone will pop in for some races down there from up this way now.
I knew the lady who owned it ( Vicki Emig ) for years, prior to the current owner. She told me more than once that whenever she tried to have a special event , with the associated higher admission price, people would not come, due to the higher admission price. Might be best for the track to just run good, well rounded, " regular " shows. I agree the track configuration is a bit strange, and could probably use a new contour so that it is a true oval. Would not want to see it closed for good. The track ownership business is a tough one, and I don't envy any owner / operator.


I've been eagerly waiting for Martin Scorsese's short film for Bleu de Chanel (a new men's fragrance) and it's finally here! Starring Gaspard Ulliel and Ingrid Schram, and featuring the song "She Said Yeah" by the Rolling Stones, Ulliel stars as a young, rebellious actor in the midst of a press conference. Definitely worth the wait!
You are currently reading Bleu de Chanel by Martin Scorsese at Quite Continental.


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Ms. Beverly Owen is chief adminstrator with Corona Investment Management. She has been involed in the investment business for 15 years. She overseas trading, accounting, and customer relations. She was formerly with Owen/Cole Investment Management. Ms. Owen is a graduate of UCLA. She is married and lives in Arizona.
Mr. Robert Fasciocco is an associate consultant. He runs his own computer consulting business near Philadelphia. It has done work for Merck & Co. and Bristol Myers . Mr. Fasciocco is a graduate of Drexel Institute of Technology and has a masters in computer engineering from Villanova University.


Norwegian-Dutch offshore service provider Oceanteam said it has received the written notice from its joint venture partner McDermott in which it commits to acquire Oceanteam's remaining 25 percent stake in the pipe lay vessel, North Ocean 105.
According to the Oslo-listed company, the transaction is scheduled for June 20, 2017.
As part of the understanding with its bondholders announced in January this year, Oceanteam will use the proceeds for repayments of vendors and repurchase of outstanding bonds.
The PLV North Ocean 105 was built in 2012 by Metalship & Docks, Spain. The vessel is equipped with a reel-lay system capable of rigid and flexible pipelay in up to 3,000 meters of water.
Posted on May 9, 2017 with tags acquisition, lay vessel, McDermott, North Ocean 105, Oceanteam, ownership.


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U.S. Committee on NATO
"Strengthen America. Secure Europe. Defend Values. Expand NATO."
Bruce Jackson, Co-Founder
Greg Craig, Co-Founder
Julie Finley, Board of Directors
Stephen Hadley, Board of Directors
Richard Perle, Board of Directors
Randy Scheunemann, Board of Directors
Paul Wolfowitz, Board of Directors
Committee on the Present Danger
Committee for the Liberation of Iraq
Ilhan Omar: Anatomy of A Smear
Committee for the Liberation of Iraq Members on Iran Deal
Emergency Committee for Israel
Iran Policy Committee
U.S. Adopts Israeli Demand to Bring Iran's Missiles into Nuclear Talks
47 Senators Take AIPAC's Word Over U.S. Intel Community
U.S.-Iran Poised for Breakthrough on Hostage Crisis Anniversary
The U.S. Committee on NATO, a rightist advocacy organization committed to increasing U.S. influence through expansion of the transatlantic military alliance, was originally founded in the mid-1990s as the U.S. Committee to Expand NATO. Its founders, Bruce Jackson and Greg Craig, later renamed the group the U.S. Committee on NATO (USCN). The committee's motto was "Strengthen America. Secure Europe. Defend Values. Expand NATO."[1] It ceased operations in 2003.
Following the group's termination, Jackson and two other principals of the committee—Randy Scheunemann and Julie Finley—used the committee's office space to found a successor group, the Project on Transitional Democracies.
Among USCN's initial board members were two high-profile neoconservative figures, Paul Wolfowitz and Richard Perle. Other board members included Stephen Hadley, who served in the George W. Bush administration as deputy national security adviser to Condoleezza Rice; Randy Scheunemann, later a key aide to Sen. John McCain and Sarah Palin; Julie Finley, a Republican Party operative and founding member of the Committee for the Liberation of Iraq; and Gary Schmitt, a former director of the Project for the New American Century and scholar at the American Enterprise Institute.[2]
The committee was well placed to service the needs of a number of factions, including both hawkish ideologues and the defense industry. NATO expansion requires integrating national militaries, a process that opens up lucrative weapons markets, including jet fighters, electronics, attack helicopters, communication networks, among other trappings of modern military forces. "Add them together," Joel Johnson, vice president of the Aerospace Industries Association, told the New York Times, "and we're talking about real money."[3]
Until 2002 Bruce Jackson was planning and strategy vice president at Lockheed Martin, where he served as the advance man for global corporate development projects.[4] One prominent neocon described Jackson as "the nexus between the defense industry and the neoconservatives. He translates us to them, and them to us."[5]
In the estimation of John Laughland, a trustee of the British Helsinki Human Rights Group and a close observer of Jackson's work in Eastern Europe: "Far from promoting democracy in eastern Europe, Washington is promoting a system of political and military control not unlike the once practiced by the Soviet Union. Unlike that empire, which collapsed because the center was weaker than the periphery, the new NATO is both a mechanism for extracting Danegeld [tribute levied to support Danish invaders in medieval England] from new member states for the benefit of the U.S. arms industry and an instrument for getting others to protect U.S. interests around the world, including the supply of primary resources such as oil."[6]
In the lead-up to the U.S. invasion of Iraq, Jackson helped draft the declaration by the Vilnius Ten governments supporting the planned U.S. invasion with or without UN approval. Eager for U.S. support for their entry into NATO, the countries of what Donald Rumsfeld called the "New Europe" joined the war coalition, at least in name. Slovenia later backed away from the statement after revelations that its foreign minister "had buckled…under Bruce Jackson's threat."[7]
The U.S. Committee on NATO and the Committee for the Liberation of Iraq, both of which were organized by Jackson, were disbanded in late 2003, apparently because its members believed that they had accomplished their mission.[8]
The U.S. Committee on NATO did not offer any information about funding sources on its now-defunct website. According to Bruce Jackson, "I finance myself, with money I made from investment banking [he was chief strategist on the proprietary trading desk at Lehman Brothers from 1990 to 1993]. It's not as if it's some individual project though. A lot of people volunteer their time for the NGO. Volunteer work is much more normal in Washington than in Europe."[9]
[1] Jeff Gerth and Tim Weiner, "Arms Makers See Bonanza in Selling NATO Expansion," New York Times, June 28, 1997; J.J. Richardson, "Going For Broke--or Just Broke?" MoJo Wire, Mother Jones Magazine.
[2] Jeff Gerth and Tim Weiner, "Arms Makers See Bonanza in Selling NATO Expansion," New York Times, June 28, 1997; John B. Judis, "Minister Without Portfolio," The American Prospect, May 2003, http://www.prospect.org/cs/articles?article=minister_without_portfolio; Stephen Gowans, "War, NATO expansion, and the other rackets of Bruce P. Jackson," What's Left, November 25, 2002, http://www3.sympatico.ca/sr.gowans/jackson.html.
[3] Jeff Gerth and Tim Weiner, "Arms Makers See Bonanza in Selling NATO Expansion," New York Times, June 28, 1997.
[4] Jeff Gerth and Tim Weiner, "Arms Makers See Bonanza in Selling NATO Expansion," New York Times, June 28, 1997
[5] John B. Judis, "Minister Without Portfolio," The American Prospect, May 2003, http://www.prospect.org/cs/articles?article=minister_without_portfolio.
[6] John Laughland, "The Prague racket: Nato is now a device to exert control and extract cash. Those who resist, like Belarus, are punished," The Guardian, November 22, 2002, http://www.guardian.co.uk/comment/story/0,3604,845129,00.html
[7] John B. Judis, "Minister Without Portfolio," The American Prospect, May 2003, http://www.prospect.org/print/V14/5/judis-j.html; John Laughland, "The Prague racket: Nato is now a device to exert control and extract cash. Those who resist, like Belarus, are punished," The Guardian, November 22, 2002, http://www.guardian.co.uk/comment/story/0,3604,845129,00.html.
[8] Jim Lobe, "Committee for the Liberation of Iraq" Sets Up Shop," Foreign Policy in Focus Policy Report, November 2002
[9] Julian Evans, "The Man Who Brought NATO East," Euromoney, December 2003.


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Home » News » Angry Birds Star Wars II Coming Up
Angry Birds Star Wars II Coming Up
Expect prequels, Telepods, and may be a new character as well!
Rahul R
16:40 16th Jul, 2013
Rovio's popular Angry Birds Star Wars game will soon get a sequel. The Angry Birds Star Wars II is slated for a 19th September launch. On its official blog, Rovio states, "The new gaming app will tackle the prequels, introducing a wide roster of never-before-seen Angry Birds Star Wars characters". The app is slated to have over 30 levels to begin with.
The new game will also bring with it some real-world goodies. You can soon buy new toy-figures (physical gaming toys) called Telepods that can turn into virtual characters. All you need to do is scan these Telepods using your smartphone/tablet camera, and you'll have a new character to play with. The entire process of how these new Telepods work, has been detailed in the video below. You can also look forward to more customised Telepods accessories including exclusive books and related apparel.
Another important aspect about the Angry Birds Star Wars II, is that players will also be able to select their desired playing side. Gamers will also be able to "Join the Pork Side" (meaning you can also play as a pig). There is also speculation that a new character named Jar Jar Binks in the works.
Rovio's latest offering is a game called Tiny Thief, that is available to users of both the Android (cost Rs 210) and iOS (cost Rs 170) platforms.
TAGS: Gaming, Apps, Angry Birds


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Remembering William Hurt, star of 'Broadcast News' and 'The Big Chill'
Published March 18, 2022 at 10:26 AM MST
DAVID BIANCULLI, HOST:
This is FRESH AIR. I'm David Bianculli, professor of television studies at Rowan University in New Jersey, in for Terry Gross.
Today we remember actor William Hurt, who died Sunday at the age of 71. The cause was complications from prostate cancer. With his blond, blue-eyed good looks, he found success as a leading man in the 1980s in the films "Body Heat," "The Big Chill" and "Broadcast News," delivering memorable performances in each. But Hurt thought of himself as a character actor trapped in a leading man's body. He was a four-time Oscar nominee and won for his role in "Kiss Of The Spider Woman," playing a drag queen sharing a prison cell with a political dissident.
In college, he studied theology before switching to drama and briefly went on to study at Juilliard. In New York, he performed with the Circle Repertory Company, winning an Obie Award in 1977. Hurt also starred in the films "Eyewitness," "Gorky Park" and "The Accidental Tourist." And his memorable cameo in the film "A History Of Violence" earned him an Oscar nomination. He also worked in television and was nominated for an Emmy for his recurring role in the FX drama series "Damages."
Hurt was married and divorced twice. He was accused of physical and emotional abuse by actress Marlee Matlin, who was in a relationship with him and starred opposite him in the film "Children Of A Lesser God." He also struggled with alcohol and drugs.
We're going to listen to Terry's 2010 interview with William Hurt. But first, let's listen to a clip from the modern film noir classic, 1981's "Body Heat." He plays a South Florida lawyer seduced by Kathleen Turner and duped into murdering her husband. Here he is meeting her for the first time on a hot, humid night on a Florida pier.
(SOUNDBITE OF FILM, "BODY HEAT")
WILLIAM HURT: (As Ned Racine) You can stand here with me if you want, but you'll have to agree not to talk about the heat.
KATHLEEN TURNER: (As Matty Walker) I'm a married woman.
HURT: (As Ned Racine) Meaning what?
TURNER: (As Matty Walker) Meaning I'm not looking for company.
HURT: (As Ned Racine) Then you should have said, I'm a happily married woman.
TURNER: (As Matty Walker) That's my business.
HURT: (As Ned Racine) What?
TURNER: (As Matty Walker) How happy I am.
HURT: (As Ned Racine) And how happy is that?
TURNER: (As Matty Walker) You're not too smart, are you?
HURT: (As Ned Racine, laughter).
TURNER: (As Matty Walker) I like that in a man.
HURT: (As Ned Racine) What else do you like? Lazy, ugly, horny - I got them all.
TURNER: (As Matty Walker) You don't look lazy (laughter). Tell me, does chat like this work with most women?
HURT: (As Ned Racine) Some, if they haven't been around much.
TURNER: (As Matty Walker) I wondered - thought maybe I was out of touch.
HURT: (As Ned Racine) Can I buy you a drink?
TURNER: (As Matty Walker) I told you, I've got a husband.
HURT: (As Ned Racine) I'll buy him one, too.
TURNER: (As Matty Walker) He's out of town.
HURT: (As Ned Racine) My favorite kind. We'll drink to him.
TURNER: (As Matty Walker) Only comes up on weekends.
HURT: (As Ned Racine, laughter) I'm liking him better all the time.
BIANCULLI: When Terry spoke with William Hurt, he played a man just released from prison in the film "The Yellow Handkerchief."
TERRY GROSS: Now, I read that you spent some time in a prison talking to inmates so that you could learn about what...
HURT: Yeah.
GROSS: ...Your character might be like. So what prison did you go to, and what did you want to know?
HURT: We were in Angola in northern Louisiana. And I spent one night in maximum security there. I think I'm the only person who electively has done that.
HURT: (Laughter) I think someone else tried to but screamed and gave up at midnight. I spoke with every member on that row who's incarcerated in an 8 foot by 4 foot cell 23 hours a day for the rest of their lives - those who would speak to me. Some wouldn't. I had four days basically on the grounds with many people asking them questions about their lives, what got them there, what it was like there, how they were now, what they thought. And I learned a lot.
GROSS: So what did you take away from the experience of being in Angola, in prison and speaking to prisoners who were in the maximum-security wing? What did you take away from that that you were able to use in the movie?
HURT: It's pretty limitless - primarily sorrow for them. Most of the time I would ask them, why are you here? And most of the time they would answer, second-degree murder. Of 5,108 inmates, 85% of the people in there are going to die there. So there's no compunction when you're talking to someone whose only desire on Earth is not to have their body buried on the grounds of that prison. There's no problem in being frank. There's no compunction about telling the truth. Conversations are wonderfully, refreshingly, brutally honest.
GROSS: Were you shocked by anything you heard?
HURT: No. I've been around. So, I mean, I've talked - I - this isn't the first time I've talked to prisoners. It isn't the first time I've talked to murderers.
GROSS: For movies or for other reasons?
HURT: For various reasons - I used to visit prisons. You'd call it charitable work. I had worked with some people who were involved in a prison program, and they periodically visited the prisons in Rockland County in New York state to take a program of hope and self-rehabilitation to them. And I would accompany them. This is a little hard to say rightly, but I've always been interested in people, and I've been interested in people who were off the track. I mean, I ran into problems - for instance, in Brazil 25 years ago, when by accident I was taken hostage on a dark night in a small village south of Sao Paulo and, you know, had a guy with a gun in my pocket. He was going to blow my genitals off. And then after an hour, he told us to face the wall, and we were sure he was going to shoot us. So I...
GROSS: Whoa. Whoa, whoa, whoa, whoa. Let's back up. What happened? Why were you taken hostage?
HURT: We were...
GROSS: Was this while you were making "Kiss Of The Spider Woman?"
HURT: Yes. And we had 36 hours off from filming. And me and my date at the time got into a car, and we drove south to a village where her parents had a small villa in a very modest town with dirt streets. And as we drove into the driveway at midnight, a car pulled up behind us and blocked our exit. The engine of that car was turned off. There were four people in it - two men and two women. One of the men had a ski mask on, a black ski mask. The other man just hid his face.
And the one man leaned out the window, and he said to us - we were standing outside our car just - we'd just arrived. They must have been following us. And he said something in Portuguese. And I asked my date, what did he say? And she turned white. And she said, he wants to - he wants - he wants directions. So she knew right away. And after that, the doors of the car opened, and they both got out with guns. And that's when it...
GROSS: How'd you get out of this?
HURT: Well - what do they say in Sanskrit? They say life is about creation, sustenance, dissolution, control and the bestowal of grace, right? Probably the bestowal of grace. We were in the house for an hour. And one man, the guy in the ski mask - his duty was to hold the gun on us in the corner and shift us around the house while the other guy carried everything out of the house and put it into our car. There were a couple of times when I thought the guy was ready to pull the trigger and you can see the bullets 'cause it wasn't fake. And then he and I were just looking at each other for about an hour, me at his eyes through the mask. Anyway, he told us to face the wall, and he was going to shoot us. And so I said, no, I can't do that. And my feeling was, if I'm going to die now, I want to be looking into another human being's eyes, even if it's yours.
GROSS: Did you say that to him?
HURT: I did eventually, yeah.
GROSS: And he said?
HURT: And he drove me to the ground. He put the gun in my forehead, and he leaned on it with all his might, and he was screaming at me. And we both went to the floor, his face a few inches from mine. He's screaming at me in Portuguese. My date was collapsing in the corner. And I just was looking at him very, very steadily. And I just kept saying, I just don't want to - I don't want to - I don't want it in the back of the head. And he backed away slowly and he said, don't call the police for 15 minutes or I will find a way to come back and kill you. And he left.
So I called the police pretty much right away, and eventually they showed up and they were almost worse than he was. I mean, really, there's a lot of violence in the world. So I've seen not just that, but I've seen it in other places as well. My father worked for - he was the head of AID in Lahore, Khartoum, Mogadishu. I lived in all those places with him when I was young. I grew up in the South Pacific, basically. My brothers were Guamanian. I spoke words of Guamanian long before I spoke words of English. And so I've seen a lot, you know. I've traveled in places where people don't have the benefits of American life and so I've seen a lot of stuff. So the prison was not new to me.
GROSS: Right. After hearing that story, we should hear what you were doing professionally as that was happening with you and listen to a clip from "Kiss Of The Spider Woman" because, I mean, now, in that movie, you're in prison. We've been talking about prison. You were nearly killed while making this movie.
HURT: Well, we weren't allowed to tell anybody about it at the time because we would have had to stop making the movie.
GROSS: Why? Because people would've been scared?
HURT: Because there would have been so much press - that's right - no, press attention and then people accusing the production of being irresponsible. And it would distract from the making of a film that we had - we were doing on spec anyway. The real problem was the press.
BIANCULLI: William Hurt speaking to Terry Gross in 2010. More after a break. This is FRESH AIR.
(SOUNDBITE OF EXPLOSIONS IN THE SKY AND DAVID WINGO'S "SEND OFF")
BIANCULLI: This is FRESH AIR. Let's get back to Terry's 2010 interview with William Hurt. The Oscar-winning actor died last Sunday at age 71. When we left off, they were talking about making the film "Kiss Of The Spider Woman."
GROSS: The two stars of the film are you and Raul Julia. And you're both in a prison cell together. You're there - you play a drag queen who's had sex with an underage boy. That's why you're in prison. He's there - he's a political prisoner. He's in the resistance.
HURT: I didn't - not an underage boy.
GROSS: No. Who was it?
HURT: They said it was, but it was just for being homosexual.
GROSS: Just for being gay. Right.
HURT: Just for being gay.
HURT: And for being flagrant about it.
GROSS: Yes. Because you're kind of a drag queen in it. And you have this real, like, romantic view of the world. You have a very romantic sensibility. And even though you're in prison, you're wearing this, like, flowered robe, and you've put a towel on your head as a turban. And because Raul Julia is in such pain, he's been tortured, he's bleeding, you're trying to divert him and entertain him by telling the story of a film that you saw that you think is a really, like, thrilling and romantic film. And you're kind of doing it as if you're narrating the film. You're telling him the whole story of the film. And he kind of figures out that it's a film - it's a Nazi propaganda film. But you don't realize that.
HURT: Yeah, but I didn't get that. But I interpret it as romantic sentimentalism.
GROSS: Yeah. So in this scene from the beginning of the film, you're narrating the movie, and Raul Julia keeps interrupting you with kind of cynical comments. He is not a romantic like you are, and you're defending the film before continuing the story of the film. Here's the scene.
(SOUNDBITE OF FILM, "KISS OF THE SPIDER WOMAN")
HURT: (As Luis Molina) I know it's nothing terribly intellectual like you must be used to. It's just a romance. But it's so beautiful. Now, suddenly, this military convoy rushes forward.
UNIDENTIFIED ACTOR: (As character, non-English language spoken).
(SOUNDBITE OF SIRENS, FOOTSTEPS)
HURT: (As Luis Molina) Marvelous German soldiers catch those weird smugglers in the act and arrest them all.
HURT: (As Luis Molina) But watching nearby is this small truck with these two French thugs from the resistance who were spying on the Germans, this hulking clubfoot and his half-deaf flunky.
RAUL JULIA: (As Valentin Arregui) Wait a minute. Those weird guys the Germans arrested...
HURT: (As Luis Molina) Yes.
JULIA: (As Valentin Arregui) ...What do you mean they didn't look French?
HURT: (As Luis Molina) They didn't look French. They looked Turkish. I'm not sure, but they had these, like - like, these caps on their heads, like, these Turkish, like, fezes.
JULIA: (As Valentin Arregui) Those caps are yarmulkes. Can't you see this is a [expletive] anti-Semitic film?
HURT: (As Luis Molina) Oh, come on.
JULIA: (As Valentin Arregui) Wait. This must have been a German movie, right?
HURT: (As Luis Molina) I don't know. It was from years ago. Look, I don't explain my movies. It just ruins the emotion.
JULIA: (As Valentin Arregui) This must have been a Nazi propaganda film done during the war.
HURT: (As Luis Molina) I don't know. That's just the background. This is where the important part begins, the part about the lovers. It's divine.
GROSS: That's my guest, William Hurt, with Raul Julia in a scene from the film "Kiss Of The Spider Woman." It's such a good film. Your character in that is someone who sees life as theater, you know, life as - you know, he wants his life to be theater.
HURT: But he ends up sacrificing himself for his...
GROSS: That's right. Yeah. He ends up becoming quite political in the end.
HURT: Well, he ends up sacrificing himself for the person he loves.
GROSS: Now, in playing a drag queen in "Kiss Of The Spider Woman," what did you want to capture about the character's way of moving and speaking?
HURT: Capture isn't my word for anything. It's more like release. It was that there is something in that man, that human being. So I didn't play him, by the way, as gay. I played him as a woman. And it was a big point for me during the rehearsal we had. And by the way, rehearsal was key and is always key. And almost all the really good work I've ever done had a lot of rehearsal because it became a collaborative - a true collaboration rather than a false one, just showing up and jumping out of the box, which is what we're usually paid to do. It was that there was something in that being's heart that was searching for the truth that really went beyond politics, if you want to call it that. So this guy, this human being, goes beyond that and proves himself more of a man in many ways, ironically, than many men.
GROSS: When you say you played the character as a woman, not as a gay man...
HURT: The key for me as an artist - as I was researching the character, I had a wonderful teacher there, a dance teacher who was helping me try to figure out how to move, 'cause every character has different movement and physical life. And I would - you know, I spent time - for instance, in the same way I spent time in Angola asking prisoners, you know, about their lives, I spent a lot of time in gay bars and trying to, you know, soak that up too. I'm not gay myself, but many of my friends are. And I wasn't getting it. There was something that wasn't working. And I was walking in the street one day, and I was looking at a woman who was walking ahead of us. We were walking down the street in the same direction. And I said, you know, I don't think Molina is gay. I think he's a woman. I think he really is a woman. He's just caught in a man's body. Like, you know, sometimes I'm an actor caught in a movie star's body.
GROSS: You had mentioned years ago in an interview that when you were rehearsing with Raul Julia, you switched roles with him so that he played...
HURT: It's a very rare technique to use between actors because actors should never comment on each other. But Raul and I had a great friendship, and we respected each other very much as artists. So I suggested it to him one day because we were feeling rushed about rehearsal, and we weren't getting to places I thought we could get to. And he took it on, and we went - we used to sneak to the Quonset hut when we were making "Spider Woman" on Sundays, unbeknownst to the producers. We weren't allowed to go there 'cause it was a dangerous city. And we would work under a naked lightbulb on the platform, and we reversed roles. I played Valentin, and he played Molina. And we made all these incredible discoveries very, very quickly, but only because we trusted each other immensely as people and as artists were we able to use those discoveries. Otherwise, we would have seen them as invasion and commentary.
GROSS: Did you change anything about your performance after that exercise?
HURT: I enhanced it. He was so much better than I was, in my view, at what we were doing that I went - we went running back, and I said - I knocked, I hammered on the director's door, and I said, we have to change roles, we have to change roles. And the director panicked and said, no, no, no, no, we have to have a talk, and...
HURT: So we weren't posing. And we were talked out of it, but it did - we were inspired by each other's discoveries, and it basically gave us each immense amounts of permission to go further into the choices we'd already made, but just freed up.
BIANCULLI: William Hurt speaking to Terry Gross in 2010. The Oscar-winning actor died last Sunday. He was 71 years old. We'll hear more of their conversation after a break. Also coming up, John Powers reviews Amy Schumer's new series for Hulu called "Life & Beth," and Justin Chang reviews the new Ben Affleck movie, "Deep Water." I'm David Bianculli, and this is FRESH AIR.
BIANCULLI: This is FRESH AIR. I'm David Bianculli, in for Terry Gross. We're listening back to Terry's 2010 interview with actor William Hurt. He died Sunday at the age of 71. In the 1980s, he became famous for his leading roles in "Body Heat," "Broadcast News" and The Big Chill. And he won an Academy Award for his role in "Kiss Of The Spider Woman."
GROSS: Now, earlier, you mentioned that you're very interested in people who've gone off the track. So I thought I'd play an example of one of your roles - the character has gone off the track.
HURT: (Laughter) Oh, no.
GROSS: And this is another great film, "A History" - it's called "History Of Violence."
HURT: Oh.
GROSS: And your - it's a movie that's directed by David Cronenberg. You're only in one scene in this. But you are so good that, you know, when you leave the movie, you're thinking (laughter) - you're thinking about this scene. So the main character in the movie - you're the brother of the main character in the movie. The main character in the movie is played by Viggo Mortensen. He used to be a gangster, but he wanted out of that life. So he's moved to a small town. He's changed his name. He's renounced violence. He now owns a diner that he runs with his wife. He has a - he has, I think, two children and then, just to - I won't complicate things, but he gets dragged into violence after the diner is robbed. And then his past starts coming up to haunt him. And he knows that you, his brother, who's still in crime, is in part to blame for this.
So he goes to pay you a call at your fancy home. And first, you have him frisked, even though he's not carrying. And then you pour yourself a drink. You give him a big kiss and a big hug. And he's just, like, wincing because he doesn't even want to be in your presence. He just wants out. And then you explain why you can't let him off the hook. Here's the scene.
(SOUNDBITE OF FILM, "A HISTORY OF VIOLENCE")
HURT: (As Richie Cusack) You know, you cost me a lot of time and money. Before you pull that [expletive] with Fogarty, I was a shoe-in to take over when the boss croaked, a shoe-in. It was made very clear to me, Joey, I had to clean up your mess, or nothing was ever going to happen for me. You got no idea how much [expletive] I had to pull to get back in with those guys. You cost me a hell of a lot, Joey, a hell of a lot.
VIGGO MORTENSEN: (As Tom Stall) Looks like you're doing all right over here.
HURT: (As Richie Cusack) Yeah, I am. Yeah, I am. I'm still behind the eight ball. Because of you, there's a certain lack of respect, a certain lack of trust. The boys in Boston are just waiting for me to go down. (Laughter) You always were a problem for me, Joey. When Mom brought you home from the hospital, I tried to strangle you in your crib. I guess all kids try to do that. She caught me, whacked the daylights out of me.
MORTENSEN: (As Tom Stall) I've heard that story.
HURT: (As Richie Cusack) Well, what do you think? Better late than never?
MORTENSEN: (As Tom Stall) Richie, I'm here to make peace. Tell me what I got to do to make things right.
HURT: (As Richie Cusack) You could do something, I guess. You could die, Joey.
GROSS: And that's the sounds of one of your henchmen trying to (laughter) kill Viggo Mortensen. It's such a good scene. And this character - you play him, and he sounds like an overgrown child. He sounds like...
HURT: Right.
GROSS: ...Like a child who has a lot of...
HURT: That's exactly right. He never got out of it.
GROSS: ...Like, a lot of power and a lot of guns.
HURT: He's right back there in the room where his mother's whacking him down for doing exactly what she told him to do, which is win. Be your little man. Be the guy. Be the macho boy, beat all comers, including your brother. And when he does it, she whacks him down, so he gets polarized (ph). He lives in a trauma for the rest of his life.
GROSS: So tell us more about, like, just the way you play the role, like, what you did to prepare for it.
HURT: Well, that was - you know, David was so kind with me.
GROSS: David Cronenberg, the director.
HURT: Yes, yes, yes. I went - I arrived ten days early. I filmed only for a couple days. I'm of the belief there are no small roles, only small actors. You know that old phrase?
GROSS: Yeah. Well, I was going to ask you - this is such a - this is literally...
HURT: Yeah, but then that...
GROSS: In terms of time, it's a small role. In terms of impact, it's big.
HURT: But that framework doesn't work for me, you know?
HURT: Who cares? You know, if your life - some people have - you know, I've met 8-year-olds that have more wisdom than 80-year-olds. So. So my mom died young, and she had a great life. So, you know, you can't measure things in terms of time, at least the quality. And so-called main characters - what's that? We're all main characters. We're all main characters in our life.
GROSS: OK. So getting back to playing the role and preparing for it.
HURT: Yeah. I arrived 10 days early, and I asked him if he'd pay for a hotel room and get me a dialect coach. And he did. And then the key was Viggo's generosity, because even though he was at the end of a very long shoot and therefore just whacko tired - he must have been exhausted - he would give me evenings. We would have dinner almost every night. And we would talk about the basics of the character, where they were from, given circumstances. He and Maria had developed this incredible array of wonderful given circumstances for their characters. And he shared that with me. In fact, though I only met Maria just one time on that film...
GROSS: This is Maria Bello. Yeah.
HURT: Yeah. She was the one who actually filled us all in because she came from Philadelphia. She knew all about it. And she and Viggo had done all this research together. So Viggo passed it on to me, and I just based the character on their given circumstances, so I could make them all come from the same world. That's what I was doing. And from there came the character. That to me - that was not somebody waltzing in, dropped in by helicopter, jumping out of a box and doing a great cameo.
GROSS: And what did you want the dialect coach for?
HURT: The sound, his speech - (imitating accent) talking like this. You know, Richie, you talking in there like that.
You know, but I also thought of it as a farce and a grandiose farce and very, very funny. So I saw him as trapped between these images of himself, as, you know, half Italian mafia, half Irish mafia (laughter) and half John Wayne (laughter). So I thought it was so funny. And that's what I basically did with him - was create these bigger-than-thou, bigger-than-himself images so that he could bluster his way through life and pretend that he was strong enough to stand up to his mom.
GROSS: (Laughter) Right.
HURT: ...Because she was the one who trounced him for being - for doing exactly what he - what she and his dad had told him to do, which is be No. 1 and pounce on everybody else.
GROSS: You were telling me before the interview started that you actually live in Oregon in a unpopulated area.
HURT: I live in the county where my mother was born and buried.
GROSS: Really?
GROSS: Is that why you live there?
HURT: That's basically it. I took my two middle boys there after we had troubles, you know, relating to their mom, who was sick. And after I got them back into my permanent custody, I was looking for a place to put a foundation under their feet. And I sent up a little prayer by a balloon, and I said, Mom, what the heck do I do to save our lives? And she said, bring them home. So I put them in a VW bus, and I took them to, you know, the place where she was born and buried in eastern Oregon. And I put them in a one-room schoolhouse...
GROSS: Wow.
HURT: ...Where there was a lady who knew the difference between a math grade and a human being. And we're doing great.
GROSS: It sounds like...
GROSS: ...Your mother came from a background of small town and poverty. Your father came from a family with a Supreme Court justice in it. It sounds like...
HURT: But...
GROSS: ...Two very different places they came from.
HURT: They were very different. They met in China. I was conceived in China. I was conceived in Shanghai, China in '49. My...
GROSS: Your father was in the State Department or something?
HURT: He became a member of the State - the State Department didn't exist at that time.
GROSS: Oh.
HURT: But the Department of the Interior did, and State evolved out of that. My mom, during the war, had gotten pregnant by - with her husband, an American soldier, in New York City, having come, you know, to New York from what some people would call a cultural backwater - I don't call it that. And he went off to the war before she came to term. He was so badly battle-damaged that he came back with mental damage and couldn't function. And his parents said, we'll take him if you'll take yours. And so she had a pair of high heels and a kid in New York during the war.
She was such a brilliant woman that she managed to work herself up from below the bottom rung of the Time Inc. ladder to become an assistant and an essential member of a team. She was asked by Charlie Stillman, who was one of the appointees of Henry R. Luce, to go to Shanghai to help Chiang Kai-shek consolidate the retreat to Formosa and establish nationalist China. So she went. She met my dad there, who was liaising between the communists and the nationalists for the Department of the Interior. And then when State and AID were being established in the early '50s, he became a prominent chief of AID eventually.
So there was my dad on the one hand, but my dad - my parents divorced in '60, which is why I then went to live in sort of Spanish Harlem, Yorkville in New York with my mom for a few years. But I spent a year and a half in Lahore during that time during the coup d'etat - '58, '59. So I've seen a lot of stuff. And then my mom remarried, in '60, the son of the founder of Time Inc., the son of Henry R. Luce, Henry Luce III, who became my stepfather. I moved from 3 1/2 rooms on the Upper East Side to a 22-room duplex on Madison Avenue in the Carlyle and sitting on Louis XV with Vuillard, Vlaminck, Corot on the walls and Ming and Deng to talk about.
HURT: And so it's been a - it's been quite a journey. And from all that, I have had three amazing parents - my father, my stepfather and my mother. And they bestowed on me amazing privileges of education and experience that - from which I refer for my work. And that's one of the reasons why people sometimes say that I'm variegated in my work choices.
GROSS: Well, William Hurt, thank you so much for talking with us.
HURT: You're welcome. All right.
GROSS: It's been great to talk with you. Thank you again.
HURT: Same here.
GROSS: OK.
HURT: Thank you, Terry.
BIANCULLI: William Hurt speaking to Terry Gross in 2010. The Oscar-winning actor died Sunday at age 71. His recent acting appearances included recurring roles on TV's "Goliath" and "Humans" and as a politician in the last two "Avengers" films. Coming up, John Powers reviews "Life & Beth," the new Amy Schumer series that begins streaming today in its entirety on Hulu. This is FRESH AIR.
(SOUNDBITE OF DEEP BLUE ORGAN TRIO'S "TELL ME SOMETHING GOOD") Transcript provided by NPR, Copyright NPR.


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text:
description("Test the computed style of the -webkit-filter property.");

// These have to be global for the test helpers to see them.
var stylesheet, filterStyle, subRule;
var styleElement = document.createElement("style");
document.head.appendChild(styleElement);
stylesheet = styleElement.sheet;

function testComputedFilterRule(description, rule, expectedLength, expectedTypes, expectedTexts)
{
    debug("");
    debug(description + " : " + rule);

    stylesheet.insertRule("body { -webkit-filter: " + rule + "; }", 0);

    filterStyle = window.getComputedStyle(document.body).getPropertyCSSValue('-webkit-filter');
    shouldBe("filterStyle.length", "" + expectedLength);
    for (var i = 0; i < expectedLength; i++) {
        subRule = filterStyle[i];
        shouldBe("subRule.operationType", expectedTypes[i]);
        shouldBe("subRule.cssText", "'" + expectedTexts[i] + "'");
    }
    stylesheet.deleteRule(0);
}

testComputedFilterRule("Basic reference",
                       "url('#a')", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_REFERENCE"],
                       ["url(\\'#a\\')"]);

testComputedFilterRule("Bare unquoted reference converting to quoted form",
                       "url(#a)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_REFERENCE"],
                       ["url(\\'#a\\')"]);

testComputedFilterRule("Multiple references",
                       "url('#a') url('#b')", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_REFERENCE", "WebKitCSSFilterValue.CSS_FILTER_REFERENCE"],
                       ["url(\\'#a\\')", "url(\\'#b\\')"]);

testComputedFilterRule("Reference as 2nd value",
                       "grayscale(1) url('#a')", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE", "WebKitCSSFilterValue.CSS_FILTER_REFERENCE"],
                       ["grayscale(1)", "url(\\'#a\\')"]);

testComputedFilterRule("Integer value",
                       "grayscale(1)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["grayscale(1)"]);

testComputedFilterRule("Float value converts to integer",
                       "grayscale(1.0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["grayscale(1)"]);

testComputedFilterRule("Zero value",
                       "grayscale(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["grayscale(0)"]);

testComputedFilterRule("No values",
                       "grayscale()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["grayscale(1)"]);

testComputedFilterRule("Multiple values",
                       "grayscale(0.5) grayscale(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["grayscale(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("Integer value",
                       "sepia(1)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SEPIA"],
                       ["sepia(1)"]);

testComputedFilterRule("Float value converts to integer",
                       "sepia(1.0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SEPIA"],
                       ["sepia(1)"]);

testComputedFilterRule("Zero value",
                       "sepia(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SEPIA"],
                       ["sepia(0)"]);

testComputedFilterRule("No values",
                       "sepia()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SEPIA"],
                       ["sepia(1)"]);

testComputedFilterRule("Multiple values",
                       "sepia(0.5) sepia(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_SEPIA", "WebKitCSSFilterValue.CSS_FILTER_SEPIA"],
                       ["sepia(0.5)", "sepia(0.25)"]);

testComputedFilterRule("Rule combinations",
                       "sepia(0.5) grayscale(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_SEPIA", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["sepia(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("Integer value",
                       "saturate(1)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SATURATE"],
                       ["saturate(1)"]);

testComputedFilterRule("Float value converts to integer",
                       "saturate(1.0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SATURATE"],
                       ["saturate(1)"]);

testComputedFilterRule("Zero value",
                       "saturate(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SATURATE"],
                       ["saturate(0)"]);

testComputedFilterRule("No values",
                       "saturate()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_SATURATE"],
                       ["saturate(1)"]);

testComputedFilterRule("Multiple values",
                       "saturate(0.5) saturate(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_SATURATE", "WebKitCSSFilterValue.CSS_FILTER_SATURATE"],
                       ["saturate(0.5)", "saturate(0.25)"]);

testComputedFilterRule("Rule combinations",
                       "saturate(0.5) grayscale(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_SATURATE", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["saturate(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("Degrees value as integer",
                       "hue-rotate(10deg)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(10deg)"]);

testComputedFilterRule("Degrees float value converts to integer",
                       "hue-rotate(10.0deg)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(10deg)"]);

testComputedFilterRule("Radians value",
                       "hue-rotate(10rad)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(572.9577951308232deg)"]);

testComputedFilterRule("Gradians value",
                       "hue-rotate(10grad)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(9deg)"]);

testComputedFilterRule("Turns value",
                       "hue-rotate(0.5turn)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(180deg)"]);

testComputedFilterRule("Zero value",
                       "hue-rotate(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(0deg)"]);

testComputedFilterRule("No values",
                       "hue-rotate()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE"],
                       ["hue-rotate(0deg)"]);

testComputedFilterRule("Rule combinations",
                       "hue-rotate(10deg) grayscale(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["hue-rotate(10deg)", "grayscale(0.25)"]);

testComputedFilterRule("Integer value",
                       "invert(1)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_INVERT"],
                       ["invert(1)"]);

testComputedFilterRule("Float value converts to integer",
                       "invert(1.0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_INVERT"],
                       ["invert(1)"]);

testComputedFilterRule("Zero value",
                       "invert(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_INVERT"],
                       ["invert(0)"]);

testComputedFilterRule("No values",
                       "invert()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_INVERT"],
                       ["invert(1)"]);

testComputedFilterRule("Multiple values",
                       "invert(0.5) invert(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_INVERT", "WebKitCSSFilterValue.CSS_FILTER_INVERT"],
                       ["invert(0.5)", "invert(0.25)"]);

testComputedFilterRule("Rule combinations",
                       "invert(0.5) grayscale(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_INVERT", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["invert(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("Integer value",
                       "opacity(1)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_OPACITY"],
                       ["opacity(1)"]);

testComputedFilterRule("Float value converts to integer",
                       "opacity(1.0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_OPACITY"],
                       ["opacity(1)"]);

testComputedFilterRule("Zero value",
                       "opacity(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_OPACITY"],
                       ["opacity(0)"]);

testComputedFilterRule("No values",
                       "opacity()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_OPACITY"],
                       ["opacity(1)"]);

testComputedFilterRule("Multiple values",
                       "opacity(0.5) opacity(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_OPACITY", "WebKitCSSFilterValue.CSS_FILTER_OPACITY"],
                       ["opacity(0.5)", "opacity(0.25)"]);

testComputedFilterRule("Rule combinations",
                       "opacity(0.5) grayscale(0.25)", 2,
                       ["WebKitCSSFilterValue.CSS_FILTER_OPACITY", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                       ["opacity(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("Integer value",
                      "brightness(1)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS"],
                      ["brightness(1)"]);

testComputedFilterRule("Float value converts to integer",
                      "brightness(1.0)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS"],
                      ["brightness(1)"]);

testComputedFilterRule("Zero value",
                      "brightness(0)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS"],
                      ["brightness(0)"]);

testComputedFilterRule("No values",
                      "brightness()", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS"],
                      ["brightness(0)"]);

testComputedFilterRule("Multiple values",
                      "brightness(0.5) brightness(0.25)", 2,
                      ["WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS", "WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS"],
                      ["brightness(0.5)", "brightness(0.25)"]);

testComputedFilterRule("Rule combinations",
                      "brightness(0.5) grayscale(0.25)", 2,
                      ["WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                      ["brightness(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("Integer value",
                      "contrast(1)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST"],
                      ["contrast(1)"]);

testComputedFilterRule("Value greater than 1",
                      "contrast(2)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST"],
                      ["contrast(2)"]);

testComputedFilterRule("Float value converts to integer",
                      "contrast(1.0)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST"],
                      ["contrast(1)"]);

testComputedFilterRule("Zero value",
                      "contrast(0)", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST"],
                      ["contrast(0)"]);

testComputedFilterRule("No values",
                      "contrast()", 1,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST"],
                      ["contrast(1)"]);

testComputedFilterRule("Multiple values",
                      "contrast(0.5) contrast(0.25)", 2,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST", "WebKitCSSFilterValue.CSS_FILTER_CONTRAST"],
                      ["contrast(0.5)", "contrast(0.25)"]);

testComputedFilterRule("Rule combinations",
                      "contrast(0.5) grayscale(0.25)", 2,
                      ["WebKitCSSFilterValue.CSS_FILTER_CONTRAST", "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE"],
                      ["contrast(0.5)", "grayscale(0.25)"]);

testComputedFilterRule("One zero to px",
                       "blur(0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_BLUR"],
                       ["blur(0px)"]);

testComputedFilterRule("One length",
                       "blur(2em)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_BLUR"],
                       ["blur(32px)"]);

testComputedFilterRule("One length",
                       "blur(5px)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_BLUR"],
                       ["blur(5px)"]);

testComputedFilterRule("No values",
                       "blur()", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_BLUR"],
                       ["blur(0px)"]);

testComputedFilterRule("Color then three values",
                       "drop-shadow(red 1px 2px 3px)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_DROP_SHADOW"],
                       ["drop-shadow(rgb(255, 0, 0) 1px 2px 3px)"]);

testComputedFilterRule("Three values then color",
                       "drop-shadow(1px 2px 3px red)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_DROP_SHADOW"],
                       ["drop-shadow(rgb(255, 0, 0) 1px 2px 3px)"]);

testComputedFilterRule("Color then three values with zero length",
                       "drop-shadow(#abc 0 0 0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_DROP_SHADOW"],
                       ["drop-shadow(rgb(170, 187, 204) 0px 0px 0px)"]);

testComputedFilterRule("Three values with zero length",
                       "drop-shadow(0 0 0)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_DROP_SHADOW"],
                       ["drop-shadow(rgba(0, 0, 0, 0) 0px 0px 0px)"]);

testComputedFilterRule("Two values no color",
                       "drop-shadow(1px 2px)", 1,
                       ["WebKitCSSFilterValue.CSS_FILTER_DROP_SHADOW"],
                       ["drop-shadow(rgba(0, 0, 0, 0) 1px 2px 0px)"]);

testComputedFilterRule("Multiple operations",
                       "grayscale(0.5) sepia(0.25) saturate(0.75) hue-rotate(35deg) invert(0.2) opacity(0.9) blur(5px)", 7,
                       [
                           "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE",
                           "WebKitCSSFilterValue.CSS_FILTER_SEPIA",
                           "WebKitCSSFilterValue.CSS_FILTER_SATURATE",
                           "WebKitCSSFilterValue.CSS_FILTER_HUE_ROTATE",
                           "WebKitCSSFilterValue.CSS_FILTER_INVERT",
                           "WebKitCSSFilterValue.CSS_FILTER_OPACITY",
                           "WebKitCSSFilterValue.CSS_FILTER_BLUR",
               ],
                       [
                           "grayscale(0.5)",
                           "sepia(0.25)",
                           "saturate(0.75)",
                           "hue-rotate(35deg)",
                           "invert(0.2)",
                           "opacity(0.9)",
                           "blur(5px)"
               ]);

testComputedFilterRule("Percentage values",
                      "grayscale(50%) sepia(25%) saturate(75%) invert(20%) opacity(90%) brightness(60%) contrast(30%)", 7,
                      [
                          "WebKitCSSFilterValue.CSS_FILTER_GRAYSCALE",
                          "WebKitCSSFilterValue.CSS_FILTER_SEPIA",
                          "WebKitCSSFilterValue.CSS_FILTER_SATURATE",
                          "WebKitCSSFilterValue.CSS_FILTER_INVERT",
                          "WebKitCSSFilterValue.CSS_FILTER_OPACITY",
                          "WebKitCSSFilterValue.CSS_FILTER_BRIGHTNESS",
                          "WebKitCSSFilterValue.CSS_FILTER_CONTRAST"
              ],
                      [
                          "grayscale(0.5)",
                          "sepia(0.25)",
                          "saturate(0.75)",
                          "invert(0.2)",
                          "opacity(0.9)",
                          "brightness(0.6)",
                          "contrast(0.3)"
              ]);

successfullyParsed = true;

redpajama_set_name: RedPajamaGithub


Mobile POS is changing the way retailers handle customer transactions. No longer are they tied down to a static point of sale unit at the check-out desk. As a result, retailers can now handle customer transactions at any location in-store.