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text:
Q: Importing module in django installed with easy_install I just installed django-stdimage with easy_install on my server.
It told it me installed successfully at /home/myuser/lib/python2.4/django_stdimage-0.2.2-py2.4.egg
How do I import stdimage with django to start using it?

A: Found the answer. Easy_install's .egg files are just .zip files. I unzipped the file where it was installed and then imported the module:
from stdimage import StdImageField

redpajama_set_name: RedPajamaStackExchange


text:
Parada do Monte és una freguesia portuguesa del concelho de Melgaço, amb 27,32 km² de superfície i 487 habitants (2001). La seva densitat de població és de 17,8 hab/km².

Galeria

Freguesias de Melgaço

redpajama_set_name: RedPajamaWikipedia


text:
University students honoured for role in fire rescue
University of Southern Queensland students have been awarded the Commissioner's Certificate for their actions at a house fire.
Awards, Students
When three University of Southern Queensland students decided to form a study group ahead of their 2018 exams, they had little idea how important the decision would prove to be.
Last week, Christina Harris, Maddison Jennings and Isabella King were awarded a Commissioner's Certificate to honour their brave actions at the scene of a house fire.
Mrs Harris said the group had been studying at Ms King's Middle Ridge home in 2018, when they noticed suspicious activity outside a neighbouring property.
"We suddenly heard the breaking of glass – it sounded like gunfire because it was so loud," Mrs Harris said.
"We looked across the road and could see smoke coming from a house.
"We ran across and found a young man out there, who was trying to pull pets out of the home."
With the fire burning out of control, the trio worked together to call emergency services, secure the area and direct traffic.
"There was definitely a bit of adrenaline pumping," Mrs Harris said.
"My heart was racing as we went from home to home, knocking on doors and making sure people were evacuated."
Emergency services personnel arrived on scene shortly after and thanked the women for their help.
"You don't go to a study group thinking this will be the outcome," Mrs Harris said.
"In the moment, we all came together to help out – the experience has made us closer as friends.
"Thankfully none of us had exams the next day."
Now, three years on, the students attended the Darling Downs District Medals and Awards Ceremony to receive their Commissioner's Certificate.
"Maddie received a call from one of the detectives saying he would like to honour us with a nomination," Mrs Harris said.
"I think they were appreciative that we had acted so quickly.
"We were surprised when we learnt we would be receiving the certificate, but it was also a proud moment for us all."
Despite the incident, Ms Jennings, who was studying a Bachelor of Education, and Ms King, who was studying a Bachelor of Law, went on to pass their exams and finish their degrees.
Mrs Harris, who was studying a Bachelor of Science, also passed her exams, and went on to win a faculty medal.
She is now doing her honours project on soil security at the University.
University of Southern Queensland Vice-Chancellor Professor Geraldine Mackenzie commended the students on their bravery – going above and beyond to make a difference.
"We are proud of our students for showing initiative, compassion and courage during this trying situation," Professor Mackenzie said.
"We congratulate Christina, Maddison and Isabella on their award and wish them well in their future endeavours."
Acting Assistant Commissioner David Cuskelly presents University of Southern Queensland students (from left) Isabella King, Christina Harris and Maddison Jennings with their certificates.

redpajama_set_name: RedPajamaCommonCrawl


National Paintball can be found at 4 Killdeer Ct . The following is offered: Paint Ball. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Swedesboro there are 1 other Paint Ball. An overview can be found here.


ROCKTON — The Hononegah High School Theater program will stage "Close Ties" this weekend at the Hononegah High School Performing Arts Center, 307 Salem St., Rockton.
"Close Ties" is about matriarch Josephine Whitaker, who is edging on senility, and her family, who thinks she cannot live alone. Showtimes are at 7:30 p.m. Friday and Saturday and at 3 p.m. Sunday. Admission is $8 for adults and $5 for students, cash or checks only. The box office opens an hour and a half before show time.
For more information, email hhsfinearts@yahoo.com.


Altitude Adjustment will allow your mind to enter a space of peace as you enjoy the views of tree's among more tree's! Wether your cozy by the fireplace or enjoying a glass of wine in the clawfoot tub. With a balcony and porch you can enjoy any season and bring the outdoors in ;) Hiking Trails, Lake Arrowhead Village, Off Roading Trails, shopping and more, all 5-10 minutes from Altitude Adjustment!.
"Perfect for a little get away. Comfortable and beautiful! The porch was a definite bonus and the claw foot tub was amazing. The kitchen is perfect for preparing simple meals and the energy of the space is really lovely. Definitely would love to go back in the fall or winter when I can get more use out of the fire place"
Take a break & enter a space of peace.


On Thursday, May 19th, I'll be in Lewiston, Maine conducting a workshop for the Maine Association of Nonprofits. This is a terrific organization, providing a wide range of resources to the non-profit community. One of their primary objectives is to bring better business practices to non-profits, without losing the essence of who they are and what they do. Maine has a very large non-profit sector. The following gives an overview of what I'll be offering.
Collaboration, creativity, and communication are necessary ingredients in a highly productive and harmonious work environment. The Communication Styles Framework developed by Robert V. Keteyian offers a structure to identify strengths and challenges, as well as a pathway to problem-solving and team-building.
I'll be at Mouth Desert Island High School in Maine tomorrow giving a workshop to the faculty (about 70 educators). We'll be focusing on communication styles and conflict resolution to support their restorative practices initiative. This is a very forward thinking school, looking beyond the traditional model of discipline, as they focus on building community, individual responsibility, and accountability. I have a long history of working with this organization and admire their high standards and humanistic approach to education.


When applying for a variety of college courses, particularly in the United Kingdom Universities & Colleges System (UCAS), you will need a Personal Statement that brings your attributes, skills and aspirations to life.
We have helped a large number of students gain place on their chosen courses by crafting Personal Statements that truly showcase them to their chosen educational institution.
Call us today or email admin@slinuacareers.com) if you require a Personal Statement to complement your college (or other) application. When contacting us, please send us the link to the course you wish to study.
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StartseiteBücherBiografie & Memoiren
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You All Grow Up and Leave Me: A Memoir of Teenage Obsession
von Piper Weiss
346 Seiten4 Stunden
"Unflinching, rich and revelatory."—MEGAN ABBOTT
"Gorgeous, moody, and evocative . . . half coming-of-age story and half exhaustively researched true crime." —VANITY FAIR
"Bracingly honest and extremely discomfiting, this book is like a riveting episode of Law & Order: SVU set at a Manhattan prep school with the U.S. Open as a backdrop."—MARIE CLAIRE
A riveting blend of true crime and coming-of-age memoir— The Stranger Beside Me meets Prep—that presents an intimate and thought-provoking portrait of girlhood within Manhattan's exclusive private-school scene in the early 1990s, and a thoughtful meditation on adolescent obsession and the vulnerability of youth.
Piper Weiss was fourteen years old when her middle-aged tennis coach, Gary Wilensky, one of New York City's most prestigious private instructors, killed himself after a failed attempt to kidnap one of his teenage students. In the aftermath, authorities discovered that this well-known figure among the Upper East Side tennis crowd was actually a frightening child predator who had built a secret torture chamber—a "Cabin of Horrors"—in his secluded rental in the Adirondacks.
Before the shocking scandal broke, Piper had been thrilled to be one of "Gary's Girls." "Grandpa Gary," as he was known among his students, was different from other adults—he treated Piper like a grown-up, taking her to dinners, engaging in long intimate conversations with her, and sending her special valentines. As reporters swarmed her private community in the wake of Wilensky's death, Piper learned that her mentor was a predator with a sordid history of child stalking and sexual fetish. But why did she still feel protective of Gary, and why was she disappointed that he hadn't chosen her?
Now, twenty years later, Piper examines the event as both a teenage eyewitness and a dispassionate investigative reporter, hoping to understand and exorcise the childhood memories that haunt her to this day. Combining research, interviews, and personal records, You All Grow Up and Leave Me explores the psychological manipulation by child predators—their ability to charm their way into seemingly protected worlds—and the far-reaching effects their actions have on those who trust them most.
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Herausgeber: HarperCollinsFreigabe: Apr 10, 2018ISBN: 9780062456595Formatierung: book
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Buchvorschau
You All Grow Up and Leave Me - Piper Weiss
THIS BOOK is based on interviews, police reports, documents written by Gary Wilensky, hundreds of print articles and television transcripts, as well as my own memory, which occupies the same organ responsible for emotional responses and invention. Capitalization is used to denote direct quotations from Gary Wilensky's own writing.
The timeline of events in Gary Wilensky's life is based on reporting. Undocumented moments, chronologies, and conversations from the distant past are pulled from my imperfect memory and intended to reflect an honest but individual interpretation of events.
Several names have been altered to protect those private figures who made their way into this book. For privacy, Bianca, Sarah, and the boys from other prep schools are composite characters based on multiple students I knew growing up.
In addition, an early police report referred to Gary Wilensky's final two victims as Mother and Daughter. Their names were made public in subsequent articles published after the incident. Out of respect for the Daughter's privacy, the victims are referred to herein as the Mother and the Daughter.
Gary Wilensky is Gary Wilensky's real name.
Prologue: New York City, 1988
LOOK. THERE IS A man filming a movie across the street from the bus stop. He lounges on the hood of a parked car in a spandex bodysuit. His face is covered by a handheld camcorder. When he lowers it, you see he's wearing a black ski mask.
Peek through the window of his camera. He is filming two boys, eleven and twelve, waiting for the bus.
Each morning they stand right here on Fifty-First and First Avenue until the first of two public buses takes them to school. The block is at an incline overlooking the United Nations building, where flags flap like dusty rugs shaken out in a backyard. The bus moans toward the stop and gasps open. The boys, with their shirt buttons and book-bag zippers, step through the doors. Follow them. Watch when one of their small hands reaches for the cord above the window. Listen for the ping and see the sign light up in red above the driver's head. Next stop is where they get off.
Notice when they sit down on the bench to wait for their second bus, the man in the mask is already there, standing across the street with his camera pointed in their direction.
There he is again, at the first bus stop, the following morning. Now he hangs from scaffolding like a monkey off a tree and uses his free hand to snap photographs of the boys.
And there he is the following day, kneeling with his camera aimed up at their faces. He has moved to their side of the street, closer than he was before. Notice his mask is made of leather and fastened with laces at the back of his head.
One morning, as one of the boys leans against a brick building waiting for the bus, the masked man comes over and leans right beside him. When the boy shifts position, the man does the same, mimicking the boy's movements.
You think they must know each other. You think this is performance art. You think he wants money, but he is harmless. You wonder if he does this all day. You wonder if you'll read about him in the papers. You think you'll say something if the man gets any closer to the boys, but the next day he does, and you don't.
On this particular morning, the masked man approaches one of the boys seated inside the bus kiosk and sits down beside him. When the bus arrives, the boy stands up and so does the man. He raises his fist as if he might hit the boy but punches the wall instead. This all seems so choreographed and intentional, it must be an act, you think. But years later, you'll see the boy on TV telling the talk-show host how frightened he was. It seems as though he was mad, the boy will say. Like we didn't do something we were supposed to.
The next time the boys arrive at the bus stop, they are joined by an older brother for protection. He spots the masked man and alerts the police. The following morning, when the masked man begins filming, an undercover officer is watching in a parked car nearby.
When the masked man spots him, he gets into his car and drives off. Follow the siren lights down the block. See the man pull over.
Now he is pressed against a car door. He is without his mask, but his back is to you as he's placed in handcuffs so you can't see his face.
You watch an officer open the trunk of the man's car. Inside, there are stacks of videotapes, hundreds of hours of footage the man shot of his three subjects—the two boys at their bus stops, and a third child, a little girl. Every day she walked to school, unaware that a masked man was filming her, following close behind. You wonder if someone will tell her now, or if she's better off not knowing.
I DIDN'T MEAN TO HIT HER. It was an accident. We were practicing serves. I dropped a yellow ball on the green clay court. It bounced twice before I caught it and tossed it upward. One arm reached for the inflatable canvas ceiling overhead; the other swept a Wilson racket clockwise from three o'clock to six to nine. The girl's face was at ten. A bone-crack shot through the tennis bubble. Balls dropped on other courts. Necks turned, eyes followed.
The girl heaved forward and cupped her hand over her nose. Lines of blood ran between the cracks in her fingers, then down one arm and off the cliff of her elbow. When she hurried off the court, she left behind a dime-sized black stain on the clay and two gape-mouthed girls who stared at me but didn't say anything.
It wasn't my fault. You're not supposed to stand so close when someone is serving. You shouldn't talk to other girls when it's someone else's turn. You're supposed to pay attention to the person with the ball.
The girl I hit is sixteen and popular. I know because I've seen her name on flyers for prep school parties. When she steps onto the tennis bus, she pauses to smile for invisible cameras before taking her seat. Her hair is black like my mother's, but around her crown where it shines the most, it's the color of lightbulbs. Her tan is Sephardic and sealed with winter break at the Boca Raton Resort and Club, or the Breakers in Palm Beach. She has that popular-girl stance: arched upper back, one foot outturned for support—like she's pregnant on her chest, like her whole body is buckling under the weight of her breasts, like they're the heaviest and most important things anyone has ever carried.
A week later, the girl I hit isn't back on the tennis bus. All through the lesson, I checked behind me before I swung my racket to show the other two girls how careful I'd become. On the next court, the girl's younger brother slapped balls into the net and then turned to glare at me.
My sister had to get an operation, he tells me after our lesson is over and we're on the small yellow school bus headed home.
He is in the vinyl seat in front of me, sitting backward with his knees burrowed into the cushion so he can face me head-on. His hair is black and shiny like his sister's, only his is cut into a bowl over his forehead. When his fingers brush it back, his forehead pops out like a belly from an unbuckled pair of pants. He is my age with sandbag cheeks and a knapsack he straps to both shoulders. There is nothing popular about him.
It was an accident, I repeat, though I hadn't actually said it out loud before. Is she going to be okay?
Yeah, he says. But the swelling might not be down in time for my bar mitzvah, so . . .
I take a hulking bite of the Whatchamacallit candy bar I'd been saving for the ride home, and he throws me a disgusted look.
My mom's pretty upset, he says before turning around to face forward in his seat.
The mention of his mother makes bits of candy bar rise up in my throat. Although I've never met her, I can picture her: small, tan, and Jewish—nearly identical to my own mother. Her voice is raspy and rises in a room filled with other mothers. Her smell is deliberate. Chanel No. 5 from Bloomingdale's. Black leather handbag from Gucci. Black wool slacks from Loehmann's (Sixty dollars! Would you believe it?). Blow-dry from the salon on the corner of Eighty-Fourth Street. A woman with a high tolerance for heat who uses her bare hands to remove tinfoil from a hot oven, who wakes up in the middle of the night to check again that she turned off the oven, who can't hold down sleep. A woman with an exploding Filofax of numbers who picks up the phone when she's upset and won't put it down until something has changed. A woman who's most upset when precious things that belong to her are broken.
You're too rough, my mother might say if she finds out I broke the girl's nose. You broke everything, she cried once, collecting glass shards in her hands. I can't help it if I like to touch things, if my hands are slippery, if my arms swing a little too wide. I can't predict how delicate something is until it comes apart or how close I am to anything lurking on the periphery. I am clumsy, klutzy, accident-prone—though my mother calls it careless, which I hate. It makes me think of bad people with bad intentions.
This is why I hide things. There is a pig figurine with a chipped ear tucked behind a picture frame on the living room shelf. And a coffee mug without a handle in the back of the kitchen cabinet. There are other broken, hidden things, too.
Tonight feels like the night they will all be discovered. I have a sudden impulse to bolt from this bus and sprint the fifty blocks home before the phone rings and my mother learns that I broke the perfect girl's perfect face. Before she considers what else I might have destroyed.
But the bus doors are sealed. We are parked in traffic on the 59th Street Bridge. It was already getting dark when we boarded, but now it's that flat blackness that forces you to see your reflection in the window before you can see through it. Frizzy crown of hair. Crooked nose. The twinkling of flares. Siren blurps.
An accident, someone inside the bus announces, and the kids without Walkmen mutter in agreement. There are follow-up questions—What kind of accident? Are we trapped? Are we in danger?—but they are all too embarrassing to ask.
When the driver turns off the engine, there is a sudden stillness, an airless, weightless calm that could easily be followed by screaming. Yes, danger. I'm hot, breathing fast—the urge to run home has been replaced by the fear that I'll never be home again. If there is a term for my terror logic, I haven't learned it yet. I try opening the window, but it's jammed. The roof hatch is reserved for emergencies and adults who decide on such things. And I am only a teenager, one of many, locked in a tin can on a bridge hovering over the East River.
I've grown up with this river. It borders my school and the apartment where I used to live. Years ago, on the promenade with my mother, I saw a man in a black rubber suit and mask rise up from the water. A police officer, she explained, searching for someone who'd gone missing. The thought of waiting to be found underwater, the condition of being nowhere until you are identified as somewhere, made me think this next: All that keeps you from disappearing is another person who sees you. What happens when they look away?
If I ever make it off this bus, I will tell my mother I'm never going back on it again, that it's unsafe and the kids don't like me, that there's no supervision, that it's a death trap, that I don't even like tennis, that I want to try something else—a new sport, anything she wants as long as I don't have to ride this bus.
But you're so good at tennis, she'll say. What she'll mean is no.
I NEVER chose to play tennis. It was chosen for me, long before I even knew it was a choice, when it was still just an answer to a family questionnaire that another girl in my class might conduct. Mercedes or BMW? The Hamptons or Millbrook? Jewish or Christian? Tennis or skiing? We do tennis.
Tennis in Florida on the holidays, in the Catskills in April, and on Fire Island in the summers, where the game is grunted out in visors stamped with logos of other vacation spots.
My mother's racket is a Prince Classic. The rest of the family has Wilsons. Mine is a Pro Staff Sledge Hammer with fluorescent yellow strings, a yellow vibration dampener, and hot pink Ultrasuede tape wrapped around the grip. It's heavier than my sister's, but lighter than my father's.
Every summer, my sister and I spend two weeks at tennis camp, and before we leave, we shop for new tennis skirts and matching bloomers that look like underwear but are not underwear.
When a classmate invited me to her country club for a tennis match, my mother pinned the waist of a skirt that was still too big for me. Then she told me about the rules of country clubs, how you have to be proper, wear all white, and put your napkin on your lap. She told me how Jews were not always allowed inside of these country clubs, but now they are. She told me that I was a guest, a word I learned long ago has conditions: When you have a guest, you let them decide what games to play and how to play them. When you are a guest, you must be well behaved and say please and thank you. You must not break anything. Those are the rules.
In tennis, there are other rules. Don't hit the ball outside fault lines. Serve at a diagonal from the baseline. Call out love when the score is zero, deuce when it's tied, and ace when you swing at a serve and miss.
During the school year, I take lessons to build on what I've learned each summer and flip through People magazine for an article on Jennifer Capriati, who was thirteen when she went pro in 1990. Downright dangerous —that's how the reporter described her on the court. And that is how you have to be if you're a teenage girl with a racket. If you're good, you're taken seriously. You take yourself seriously.
You don't just play the game, you memorize it. You know who is ranked regionally and nationally and which colleges recruit tennis players. You know the players you can beat in the small high school circuit and who will make emotional pudding out of your game.
Every time I lose a match, it hammers down on a general truth: I'm not a winner.
When I used to ask, "What's the point of trying if I'm not going to be the best? the answer was You don't know that." Now that I'm about to be fourteen, the answer is college. Colleges want to see long-term commitment to an activity. They want varsity team members and girls who play tennis.
It doesn't matter if you don't like the game anymore, if you've come this far, you keep playing until it means something. All my lessons are a gateway to the varsity tennis team, which is a gateway to college acceptance. When the time comes to mail a piece of paper to the top twenty schools in the country (plus a few safeties), I will write the word tennis above one black line, and some other words above other lines to suggest I'm a multifaceted person.
This all puts me back on the tennis bus on the way to another lesson. The girl I hit is back this week, and when I smile at her, she laughs, looking away as if she's sharing a private joke with someone I can't see. The whole ride to the courts feels like an emergency, the same as it did the week before, only worse.
When we arrive at the parking lot, a car pulls up next to us and two girls around my age get out of the backseat. I watch them walk to the entrance of the tennis club, trailed by their driver—a gangly older man carrying a double racket bag.
In the locker room, I approach the girls on a fact-finding mission. They are taught by their own private coach. Just the two of them. And yes, he drives them to and from the courts in a car, not a bus. A car—where the windows open and the doors unlock. A car is safer, familiar, more contained, free from panic triggers and the popular girl and other untold things that frighten me. I rip out a sheet of lined paper from my history binder and write down the coach's name.
Gary Wilensky, I tell my mother when I get home. I want to play with him in the fall.
And so my mom makes a call and paces in the kitchen and makes another call and there is good news.
I got you Gary, she says.
GARY WILENSKY
Private Coach of Tournament Juniors Including Eastern and Nationally Ranked Players
Director of Gary's Girls and Guys Adult and Junior Tennis Programs, NYC
LESSON RATES
Semiprivate One Hour $86
Professional Organizations and Certifications
United States Professional Tennis Association, Master Professional (Highest Certification Awarded)
Professional Tennis Registry
United States Tennis Association—Clinician and Panelist
Eastern Tennis Association—Clinician
New York Junior Tennis League—Head Clinician of Teacher Training Program
Prince Manufacturing—Professional Advisory Teaching Staff
USTA Tennis Teachers Conference (in conjunction with the US Open)—Clinician and Panelist
USTA/Volvo National League Program—Tester and Verifier
USTA Area Training Scout for Juniors
Eastern Junior Tennis Academy—Coach for Junior Excellence Clinics
Mayor's Cup All-Scholastic, New York City—Executive Committee
Brearley School—Girls' Varsity Tennis Coach
Tripp Lake Camp—Tennis Director
Point O'Pines Camp—Tennis Director
Tennis Director and Head Professional At:
Concord Resort Hotel
Grossinger's Hotel
Fallsview Hotel
Central Park Tennis Courts
Midtown Tennis Club, NYC
Ocean Club, Paradise Island—Advisor
Tennis United, NYC
Holiday Hills Tennis Camp
Pepsi-Cola National Tennis Program
ON A SEPTEMBER DAY IN FLUSHING Meadows, Queens, Gary Wilensky runs into an old friend.
The US Open has always been an unofficial reunion for the local tennis scene. But now, in 1992, the crowds have grown along with notable celebrity appearances.
Everyone is on the lookout for Barbra Streisand, who was spotted the day before, in a floppy white hat and round John Lennon glasses, mooning in the stands over Andre Agassi. In the morning papers, she was pictured in the locker room, sandwiched between Michael Bolton and Agassi, who—in his gold chains and Nike animal prints—glinted with his own Hollywood decadence.
Celebrity gossip. Paparazzi at the Open. Agassi's Just Do It campaign on billboards and all over TV. Tennis has a renewed sex appeal with a narrative to match. Agassi, the stud; Pete Sampras, the handsome young underdog. The epic rivalry of Steffi Graf and Monica Seles. And the prodigy, Jennifer Capriati—who, a few months earlier, replaced Mary Lou Retton as every little girl's Olympic hero, ringing in the nineties in her Stars and Stripes windbreaker at the Barcelona games, raising her gold medal as high as her hair-sprayed wall of bangs. In a year, eighteen-year-old Seles will be stabbed on the court by a deranged Graf fan, and in two years Capriati will become a cautionary tale, but in this moment, both represent tennis's emerging new star: the teenage girl.
All of this is good for Gary Wilensky. Group lessons twice a week. Private coaching. Tournament prep. Over the years, his clientele has morphed from mainly adults to mainly adolescent and teenage girls. For a certain type of Manhattan parent, tennis has always been the athletic arm of social etiquette, a necessary part of the budding socialite's curriculum. For others, it has more recently become the female equivalent of high school football—a sport that legitimizes underage players as professionals at the highest level, attracts college recruiters to midrange players, and if nothing else, earns adult admiration in summer communities. All of this translates to $600 a head, per semester, for Gary Wilensky's junior program, his semiprivate weekly clinic comprised mainly of Manhattan private school kids.
Fifteen years earlier, he drummed up business with ads in the back of New York magazine, right next to the lonely hearts listings.
TIME FOR TENNIS! GARY WILENSKY GETS MORE PEOPLE INVOLVED IN TENNIS THAN ANYONE ELSE IN NEW YORK.
Now, in 1992, it's all word of mouth; the clients come to him. He runs his own program, renting out court time around the city and fielding calls from wealthy parents, some of them famous, most of them rich, all of them eager to get their child into one of his clinics.
Unlike other coaches, Gary has no professional tennis experience and isn't known for his skill as a player. Others are more artful, esteemed, technical, or physically demanding of their students. Gary is fun. He's an entertainer, a clown with a sack full of gags, doling out carnival prizes on the courts, and showing up for lessons in the occasional costume.
Manhattan kids aren't used to being treated as kids—and Gary knows this. He knows that distracting them from their anxieties, rather than tapping into them, is the secret to making even the most resistant young students fans of the sport. And those who love the game get better at it, which is what their parents pay for.
His reputation as a Pied Piper for prep school players was only bolstered this year when he was hired as the varsity coach for Brearley, one of the city's elite all-girls schools. On top of that, he's got a private coaching gig training a gifted high school senior, the Daughter, who has risen in the tournament ranks since she started with him the year before. Within the year, her name will be linked to his in news stories around the country, but for now she is best known in tournament circles for her tennis ability.
Gary? A female voice rises above the hot-dog steam in the concession area. A woman whose long reddish-brown curls tangle with a wild bedroom quality materializes before him. Gary, is that you?
The sex therapist. Erica Goodstone used to work around the corner from Midtown Tennis, where Gary taught in the late seventies and early eighties. On Friday nights she attended his tennis mixers—a weekly singles event where a game of mixed doubles held the promise of something more. He'd toss a few balls, set up some matches, provide a table of refreshments for post-game mingling, and pack the courts on an otherwise quiet night.
Early on, Erica noticed Gary's cleverness in arranging matches. He had a natural ability to read people, easily detecting their strengths and weaknesses. As a therapist, she admired that.
They became friends. Not great friends or intimate partners, but that level of friendship reserved for two single adults who enjoy each other's company enough to dismiss the notion that one party might want something different from the other. At least this was true for Erica, who had only platonic feelings for Gary.
Once they drove to the Concord Resort Hotel in the Catskills, where Gary was performing playing tennis on roller skates at an exhibition.
Another time they went to a movie, Peter Weir's The Last Wave, about a murder trial tied to apocalyptic premonitions. When they came out of the theater, Gary's car had been involved in a hit-and-run. It was bent out of shape, totaled. It looked like a wave had crashed over it. Erica expected him to be upset, but instead he laughed.
His is a two-frequency laugh, one that syncs up with outside laughter and one that abrades it, an undercackle that suggests a secondary motive. A joke about his joke and how easy it is to manipulate someone else's response.
Now, over the pop of tennis balls and intermittent roars, Erica and Gary exchange updates. The practice is expanding. Business is good. You'll never believe who I just saw. And have you heard from —?
They have plenty of mutual friends from the local tennis scene. One, Gary claims, has spoken ill of Erica.
She says you're the most selfish person she's ever met, he tells her, although Gary Wilensky has a tendency to lie. It's a game in his repertoire. There are others.
The last time Erica saw Gary was in the late eighties at another US Open. (Graf and Sabatini, or was it Becker and Lendl?) They'd sat in the stands and discussed his dating life.
He was seeing someone and it was going well, great even. What excited him wasn't the relationship itself, but what it produced. A new game: bondage, restraints—not for him, but for his partner. Gary was in
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brittanygatesGo to brittanygates's profile
Weiss has created a really interesting twist on your typical True Crime book. The narrative flips back and forth between her research process in 2016 and her memories of knowing and interacting with Gary Wilensky in 90's. I'll be honest and say that I found the chapters taking place in the 90's much more interesting than the present day ones. What makes this book so different from others in this genre is the fact that Weiss was NOT the girl Wilensky tried to kidnap in 1993. She was just another one of his many students, though that doesn't make her any less a victim. To know you spent so much time with someone who has Wilensky's capabilities and mindset, and that you TRUSTED that person is terrifying. The idea that it just as easily could have been her, and the question of why it wasn't has haunted Weiss for years. By the end of the book you begin to question whether the subtitle "A Memoir of Teenage Obsession" is describing Wilensky or Weiss.
alyssamarie9Go to alyssamarie9's profile
This book was a really interesting hybrid mix of true crime / memoir. It was very well-written, and definitely a worthwhile read for any true crime fans or even just fans of memoirs (a plus for fans of both!). This was the first book of this kind I've ever read, and it was fascinating to hear the perspective of the person actually involved.
booksandbosoxGo to booksandbosox's profile
I was unfamiliar with the case that Weiss is connected to, which was a bit frustrating as I read this as Weiss waits until the end of the book to actually describe the crime (and yes, I definitely could have looked it up, but I wasn't that invested in it). This is an interesting book, as it's not exclusively about the crime and it's not exclusively a memoir. I can definitely see that some people will take issue with this book, but I felt as if Weiss captured the intensity of teenage emotions well and I'm not surprised that her connection to this crime became an obsession. Definitely an interesting read.Thanks to the publisher for an advance reader's copy, which I received as part of LibraryThing's Early Reviewers giveaways.
samanthas37Go to samanthas37's profile
I have never read a book like this before. It's not quite true crime, not quite memoir. It has the elements of both while at the same time being a psychological input straight into Piper's mind. I don't know the case that Piper was connected too. It does elaborate but there are still questions. The book doesn't really get an ending either because it is still ongoing. Even with all of the facts and living it, Piper is still confused as to why she is still obsessed with Gary and that comes across very well.I'm not wording this well. Basically, to me, this is a book about Piper trying to make sense of Gary and why she is obsessed with not being his victim. When she knows that she shouldn't be. When she knows that it should be wrong but she can't let it go. This book is all of her reporting, thoughts, and experiences put down on paper as a way to talk about what happened but also a coping mechanism. I hope the author got some piece of mind in finally sharing this story that has kept her confused for so long.
kgurr-1Go to kgurr-1's profile
Quick-reading memoir with a sprinkling of true crime. Interesting look into the privileged world of a New York City private school girl whose journey through adolescence in the nineties is nonetheless relatable. Fascinating look at the effects of horror on those adjacent but not directly targeted; those who live with what if.
sparemethecensorGo to sparemethecensor's profile
It's hard to see this as true crime or as memoir. Sort of a hybrid, I suppose. Not being from NY originally, I had never heard of this case, so it was frustrating to be given only tiny pieces of it until the second half of the book. I agree with other reviewers that Weiss captured the intensity of teenage life and emotions well, but ultimately this was unsatisfying.
wevans-3Go to wevans-3's profile
Piper Weiss writes with unnerving perception and empathy, vividly evoking the worlds and mind of her adolescent self. A true crime book where the crime hides in the margins. Thoroughly engrossing and indelibly affecting.
bobbieharvGo to bobbieharv's profile
I found this book quite disturbing. Her tennis coach was pathologically obsessed with a girl Weiss refers to only as the "Daughter," about whom (although she's really the central character of the story) we learn very little. Weiss, meanwhile, is obsessed with the coach and wishes, even now as an adult, that she had been his favorite. She's obsessed, even now, so much that she travels to upstate New York to interview the detective who found the coach's body hoping (incredibly) to find photos of herself among his effects.It was a quick read - I kept turning the pages hoping to discover what happened to Weiss (answer: not much), or some sort of catharsis. But I'm finding it very difficult to review as a work of literature because to me, just an unqualified reader, it is so much a psychological cry for help.
aimless22Go to aimless22's profile
Not always a fan of memoirs, but this one's description looked interesting. Not as interesting as I had hoped.The author jumps around in time and perspective and I never quite get to the point of caring about what happened the night Gary's secret was revealed.Gary Wlenski is a real person and the author, Piper Weiss, took private tennis lessons from him in the 80s and 90s. His treatment of his preteen female clients sounds innocent enough from Piper's perspective, but perhaps that is why she investigated this man long after his death. She never saw anything wrong with how he treated her and his other pupils. As stated initially, I never really got to the point where I cared what happened, but I did finish the book.I cannot be sure that Piper learned anything truly interesting about herself or about Gary.
Jenah Kate ArguileGo to Jenah Kate Arguile's profile
I absolutely adored this novel. What an incredible perspective, I could fully visualize the New York that the author described.
froxgirlGo to froxgirl's profile
"I don't know how much of this is a memoir and how much is crime reporting." - from the book, which is a strange mélange. In the 1990s, the author was a daughter of the noveau riche, in private school on the Upper East Side of Manhattan, when she was chosen for private tennis lessons by popular girls' coach Gary Wilensky. He ended up stalking another teenage girl, with dire results. The author's need to track down the details of Wilensky's life decades later seems ill-advised and futile, her vain attempt to discover why she herself was not chosen by the predator - and she does seem a bit disappointed. However, the quality of the writing and the vivid descriptions of how a life of privilege can backfire are redemptive, though I cannot recommend the book as a whole.Quotes: "That flat blackness that forces you to see your reflection in the window before you can see through it.""All that keeps you from disappearing is another person who sees you. What happens when they look away?""What's most insufferable about privilege - whether white, wealthy, physically able, or free from the trauma of abuse - is the denial of its existence. The assumption that we are all the same. That some small emotional bruise you once had is comparable to the jagged head wound another endured." "A stagnant rage is reserved for those already seated, and a fresh hell-fire fury for each person who approaches the hostess stand.""When I was walking beside him, I felt beautiful by proxy. He was an outfit I wore.""This need, still so vital, to chase male rejection as if it were the answer to the riddle of me."
lissaj_4Go to lissaj_4's profile
I feel a bit mixed about this book. Piper Weiss is a former student of Gary Wilensky, a well known tennis coach of wealthy teenage girls. He was well loved amongst the rich Mahattanites and Piper expressed the eagerness to be his favorite client. It is eventually discovered that he had an extremely dark side and after being caught trying to kidnap one of his clients, he commits suicide. This book is Piper's attempt to come to terms with her feelings regarding this and also a memoir of growing up as a teenager in the nineties New York City. I am approximately the same age as the author so I loved the references and episodes of teenagerdom during that time. I thought her exploration of feelings regarding her former coach weaker and felt like exploitation at times. Overall, though, I am glad that I picked this one up. I received this book from the LibraryThing giveaway in exchange for an honest review.
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Helina Metaferia, Meet Me In The Cloud, video still from a live zoom performance, 43 mins, 2020. Courtesy of the artist
Helina Metaferia, Ancestral Honoring Performance, 2015. Linde Family Wing for Contemporary Art – Museum of Fine Arts, Boston. Courtesy of the artist and Addis Fine Art
Helina Metaferia's mural featuring Brown crowned with civil rights imagery. It is part of Not a Monolith, an arts initiative that installed works from emerging Black artists across New York City. Courtesy of the artist
Helina Metaferia, Headdress VIII, 2020. Courtesy of the artist and Addis Fine Art
Helina Metaferia: Weaving and Resisting in More Than A Few Ways
Weaving together archival and social knowledge, artist Helina Metaferia considers her community's everyday revolutions throughout her artistic process. Resisting imaginatively in more than a few ways, she has been constructing spaces around the pandemic's social restrictions to make exploring, togetherness, and knowledge-producing possible.
By Elisa Pierandrei
C&: Can you give us a basic idea of your work process, as an interdisciplinary artist?
Helina Metaferia: In my series By Way of Revolution (2018–ongoing), for example, I examine the issue of BIPOC women and labor within the narrative of activism histories and care politics, whether or not those groups' experience got documented in history. I also reflect on how such narratives affect previous generations of social change. I articulate the series in many ways. I always start my process with archival research and some sort of live experiences, including performance and social engagement. I involve my community as collaborators by asking them to share their "everyday revolutions." The outcome can be video art, but it can also be collage, assemblage, or installation. I see the process as being as important as the end result.
C&: What role does your own body play as a medium in your live or video performances?
HM: I think of my artistry as organizing and archiving, but also as activating. I activate bodies to generate experiences, to bring out memories and histories.
C&: Activists, especially activist women of color, are at the center of your work. How do you confront yourself with the terms "feminism" and "post-feminism"?
HM: I am definitely inspired by authors like Audre Lorde, bell hooks, Saidiya Hartman, and Sylvia Winter. I am also interested in the work of community organizer and author adrienne maree brown. And of course my mother, was also a feminist in many ways – I grew up with certain values around equity. I think there are multiple layers of discourse within my projects. I try to figure out how to deconstruct race, gender, class, and sexuality. I observe and amplify the voices of Black women around me, and that is a form of feminism. They often generate micro changes and service in their communities, but are not recognized in the same way as male leaders.
C&: How much do you relate your work to the audience? Did you have to adapt yourself to the conditions of our time?
HM: My work is inherently social in its process, whether it is live art, video, or works on paper that stem from a participatory engagement. Since the pandemic started, I have had to adapt my way of working, sometimes facilitating performance and social engagement virtually, and sometimes in public outdoor settings. Technology can make you feel strangely connected with people around the world, yet disconnected at the same time because it is so disembodying. I have had to work around this to try to innovate ways of creating communal experiences in a time of social distance.
C&: Tell me more.
HM: In the very beginning, I had a hard time with the adjustments. My projects started to be postponed until the following year, when we would be able to gather again. But groups of people were still meeting within the activist communities. When protests erupted in New York City after the murder of George Floyd, and the Black Lives Matter movement got more international attention, I felt an urgent need to organize new work in outdoor spaces. I performed For US at Grand Army Plaza in Brooklyn, in honor of Black women suffragettes right before the US presidential vote. I also created a five-part Zoom performance titled Meet Me in the Cloud, originally presented live via Zoom on December 4, 2020. I discuss the pandemic, its consequences in terms of economic crisis, and how it fueled the protests from a Black woman's perspective. This was what everybody has had to do in the past months: be adaptive. The work Meet Me in the Cloud is now installed as a multichannel video at the Andrew Freedman Home in the Bronx as part of a group exhibition titled Storying (June 23–July 7, 2021).
C&: You are one of five artists selected to take part in Not a Monolith, a new public art initiative for NYC-based emerging Black artists. Tell me more about your participation in this project.
HM: The murals are vinyl reproductions of two of my By Way of Revolution collages, recreated as monuments. The first is titled Headdress 21, and depicts artist and activist Wildcat Ebony Brown. Celebrating this year's Juneteenth, on June 19, it was installed in Brooklyn, on the site of MoCADA's soon-to-be-opened sculpture garden in Fort Greene. The theme shaping the headdress is "crowd and gatherings in the streets." You see iconic images from the 1963 March on Washington and figures such as Dr. Martin Luther King, integrated with snippets from African travel posters.
The second mural reproduces my collage work Headdress 13, featuring education justice advocate Zakiyah Shaakir-Ansari of the Resistance Revival Chorus. It is going to be installed in late July in the Bronx. With these two large-scale vinyl murals, I erected monuments to the labor of Black women in the United States. The subtitle illustrates my intent: What Would Democracy Be Without Black Women? This asserts the role of women in our society and questions why it is not recognized in the same way as the role of men.
Helina Metaferia is an interdisciplinary artist based in the US. She is influenced by her Ethiopian heritage, often drawing upon traditional African art sensibilities in her work, specifically the intersection of visual art and ritual. Metaferia is currently an assistant professor at Brown University, and lives and works in New York City.
Elisa Pierandrei is a journalist and author based in Milan. Over the years, she has gained an interest in the Middle East, Africa, and the diasporas. She writes and researches stories across art, literature, and visual media.
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A good watch there for any petrolheads,. part one watched and thats pulled a few more out for another time.
I missed this one before... Makes for something cool to watch on the train ride to work! Thanks for the link.
Excellent, thanks for the link! (I too missed it 1st time around, so thanks Eric for flagging it back up).
This came from the era when we really could make informative, detailed documentaries - even Horizon was good in those days. Sadly, Equinox bit the dust entirely and Horizon turned into mushy pseudo-science often with no scientific or engineering content whatsoever.
Brilliant , haven't seen it before but thoroughly enjoyed it.


Dillo Day Issue: Guster ExSpektors to ANellyate Rhymefest in Super Mash Bros.
EVANSTON—Today, Evanston Whole Foods manager Mickey McGonnell announced that Whole Foods will cease operations effective immediately and will begin the transition towards becoming a retirement home. The move was made after a 3-month analysis of Evanston Whole Foods customers concluded that 90% are over the age of 65. "I mean come on, look around" McGonnell said. "This store has more canes and walkers per capita than anywhere outside of Florida. And that old-people smell was starting to contaminate our products".


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text:
using SimaDat.Models.Characters;
using SimaDat.Models.Datings;

namespace SimaDat.Models.Interfaces
{
    public interface IProbabilityBll
    {
        bool RequestDating(Hero hero, Girl girl);

        bool Kiss(DatingLocation datingLocation);
    }
}

redpajama_set_name: RedPajamaGithub