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This year, in honor of National Poetry Month, we compiled some of the best poems published throughout The Atlantic's 160-year history… and we didn't want to stop. Come back every week to read another poem from our archives, and go here to check out our month of poetry recommendations from staff and readers.
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Annika Neklason
4:00 PM / April 27, 2017
Poem of the Day: 'Song and Story' by Ellen Bryant Voigt
Adnan Abidi / Reuters
Ellen Bryant Voigt's "Song and Story," from our May 1992 issue, begins with a poignant scene between a mother and her infant daughter:
The girl strapped in the bare mechanical crib
does not open her eyes, does not cry out.
The glottal tube is taped into her face;
bereft of sound, she seems so far away.
But a box on the stucco wall, wired to her chest,
televises the flutter of her heart—
news from the pit—her pulse rapid and shallow,
a rising line, except when her mother sings
Voigt returns to this moment again at the conclusion of the poem. But in the intervening stanzas she moves back and away from it, instead describing the mythical figure of Orpheus and his attempts to bring back his lost love with music. She links the two stories with a repeated refrain of
old woman by the cradle, stringing beads
Voigt discussed the process of writing the poem in a November 1999 interview with The Atlantic:
"Song and Story" … began as a fragment—just the poem's refrain … Then the refrain connected itself to a couple of those concentrated narrative "summaries"—the stanzas about Orpheus. And those concentrated narrative summaries occur inside a dramatic frame: the child in the hospital, in a crib, with a tube down her throat so she cannot speak. That frames the whole poem, which then tries to explore that occasion, but in neither a strictly narrative nor a strictly lyric way. A lyric would put the mother by the crib and have the mother speak. I have written such a poem. The narrative structure would follow how the child got there. It would bring the child to the hospital, raise the possibilities, then resolve them. And that would happen in time. What I wanted to do in "Song and Story" was some new third thing.
The result is a poem that's emotionally and formally complex, a union of different and apparently contradictory elements—lyric and narrative styles, familial and mythic moments—that is more than the sum of its parts.
That impulse to break out of familiar forms and create something new has distinguished Voigt's poetry throughout her long and variable literary career. Go here to find more of her poems in our archives.
Poem of the Day: 'King of the River' by Stanley Kunitz
Russell Cheyne / Reuters
The late Stanley Kunitz began his second tenure as U.S. poet laureate in 2000 at the age of 95. He remains the oldest person ever appointed to the role.
Five years before the appointment, our poetry editor, David Barber, praised Kunitz for continuing to produce remarkable work over the course of decades:
Stanley Kunitz … not only has continued to write poems of a startling richness at an advanced age but has arguably saved his best for last. …
Neither radical nor reactionary, answering to no mandarin aesthetic or modernist insurrection, Kunitz's poetry has kept its own lonely counsels, austere of bearing and constrained in form, yet uninhibited in its depth of human sympathy and tragic feeling. What has emerged from this monkish discipline is poetry rooted in the American meditative vernacular and at the same time reaching back to an Old World oracular tradition of incantation and lamentation—that, and an unnerving strain of astringent grandeur that is entirely Kunitz's own.
One of my favorite Kunitz poems, "King of the River," dates from roughly the middle of his long and extraordinary career. It exemplifies both the lonely austerity and the deep human sympathy that Barber identified in Kunitz's work. In the poem, Kunitz grapples with the aging process as he watches a king salmon struggle against the current of a river. Here are a few lines:
If the power were granted you
to break out of your cells,
but the imagination fails
and the doors of the senses close
on the child within,
you would dare to be changed,
as you are changing now,
into the shape you dread
beyond the merely human.
Read the full poem from our July 1970 issue here. Or, to get a full sense of its incantatory rhythms and that "astringent grandeur," listen to Kunitz read it to below.
Poem of the Day: 'Ode Recited at the Harvard Commemoration, July 21, 1865' by James Russell Lowell
In a eulogy for James Russell Lowell, novelist Henry James wrote:
He is one of the happy figures of literature. He had his trammels and his sorrows, but he drank deep of the full, sweet cup, and he will long count as an erect fighting figure on the side of optimism and beauty. He was strong without bitterness and bright without folly.
J. A. J. Wilcox and S. W. Rouse / Library of Congress
This bright optimism suffused Lowell's writing, even as he confronted the violent, divided state of American politics and life in the middle of the 19th century.
In the summer of 1865, just months after both the conclusion of the Civil War and the assassination of President Lincoln, Lowell recited an ode at Harvard in memory of alumni who had died in the conflict. Despite the sad occasion and the darkness of the national atmosphere, he spoke of an essential goodness that would endure:
Ah, there is something here
Unfathomed by the cynic's sneer,
Something that gives our feeble light
A high immunity from Night,
Something that leaps life's narrow bars
To claim its birthright with the hosts of heaven;
A seed of sunshine that doth leaven
Our earthly dulness with the beams of stars
Lowell expressed a similarly hopeful outlook in his prose during the tense lead-up to the war, and in its uncertain early days. In the magazine's 1860 endorsement of Lincoln's bid for the presidency, for instance, he concluded on a note of moral confidence:
We have entire faith in the benignant influence of Truth, the sunlight of the moral world, and believe that slavery, like other worn-out systems, will melt gradually before it. "All the earth cries out upon Truth, and the heaven blesseth it; ill works shake and tremble at it, and with it is no unrighteous thing."
This faith in the Union's moral cause comes through in 1861's "The Pickens and Stealins Rebellion," too:
We are to prove which is stronger, — an oligarchy built on men, or a commonwealth built of them. Our structure is alive in every part with defensive and recuperative energies; woe to theirs, if that vaunted corner-stone which they believe patient and enduring as marble should begin to writhe with intelligent life!
We have no doubt of the issue. We believe that the strongest battalions are always on the side of God.
And Lowell was ready to join those battalions. In a poetic tribute delivered on Lowell's 70th birthday, his Atlantic co-founder Oliver Wendell Holmes celebrated the editor as a
True knight of Freedom, ere her doubtful cause
Rose from the dust to meet the world's applause,
His country's champion on the bloodless field
Where truth and manhood stand for spear and shield!
James, too, wrote fondly of Lowell's sanguine view of the country:
His America was a country worth hearing about, a magnificent conception, an admirably consistent and lovable object of allegiance. …
Mr. Lowell's prose [and] his poetry … translate with equal exaltation and veracity the highest national mood, and it is in them that all younger Americans, those now and lately reaching manhood, may best feel the great historic throb, the throb unknown to plodding peace. No poet, surely, has placed the concrete idea of his country in a more romantic light than Mr. Lowell; none, certainly, speaking as an American to Americans, has found on its behalf accents more eloquently tender, more beguiling to the imagination.
This same literary sensibility and passion—for New England, for America, for truth—informed Lowell's vision for The Atlantic, which he helped shape as founding editor.
In a May 1857 letter to his friend Charles Eliot Norton, Lowell wrote about that vision:
We are going to start a new magazine here in October ... The magazine is to be free without being fanatical, and we hope to unite in it all available talent of all modes of opinion. The magazine is to have opinions of its own and not be afraid to speak them. I think we shall be scholarly and gentlemanlike.
Later that year he added:
The second number of Maga. will be out to-morrow, and it is a very good one—better than the first, which is what I wished, and I hope Number Three will be better yet. The song I wish the young lady to sing is, 'Mamma, I'm young, but I'm growin' yet.'
Like his writings about the Civil War, these letters are full of Lowell's sunny outlook, his belief in an enduring moral cause and in better things to come. As we approach our 160th anniversary this year, Lowell's optimistic vision is one The Atlantic still values—and one we're still trying to live up to.
Poem of the Day: 'The Body Mutinies' by Lucia Perillo
When the doctor runs out of words and still
I won't leave, he latches my shoulder and
steers me out doors.
So begins Lucia Perillo's "The Body Mutinies," from our February 1996 issue. Perillo passed away last October after decades of living with and writing about multiple sclerosis. She was diagnosed with the disease at the age of 30, and her awareness of her mortality and struggles with her failing body shaped her often humorous, often heartbreaking verse in the years that followed.
In "The Body Mutinies," Perillo deals with the dazed realization of a new kind of life in the immediate aftermath of diagnosis with affecting simplicity and clarity. Here are a few more lines:
& me not griefstruck yet but still amazed: how
words and names—medicine's blunt instruments—
undid me
Read the full poem here. Then, take a look at Perillo's more metaphysical "Pharaoh," from our October 2010 issue.
Poem of the Day: 'Gabardine' by Ted Kooser
From our October 2009 issue, here's Ted Kooser's "Gabardine" in its entirety:
To sit in sunlight with other old men,
none with his legs crossed, our feet in loose shoes
hot and flat on the earth, hands curled in our laps
or on our knees, like birds that now and then
fly up with our words and settle again
in a slightly different way, casting a slightly
different shadow over our pants legs, gabardine,
blue, gray, or brown, warmed by the passing sun.
This poem exemplifies the conversational style for which the former poet laureate is known—and which seems perfectly suited to a lazy Sunday afternoon. For more, you can read Kooser's "Two," from our May 2013 issue.
Poem of the Day: 'Projection' by Howard Nemerov
In "Projection," from our May 1967 issue, two-time poet laureate Howard Nemerov muses about map-making and artistic possibility:
They were so amply beautiful, the maps,
With their blue rivers winding to the sea,
So calmly beautiful, who could have blamed
Us for believing, bowed to our drawing boards,
In a large and ultimate equivalence,
One map that challenged and replaced the world?
Read through some of Nemerov's other poems in our archives to hear more of his thoughtful and often witty voice.
Poem of the Day: 'Waterborne' by Linda Gregerson
Linda Gregerson's "Waterborne," from our May 2000 issue, captures many of the distinctive features of her verse. It's subtly, hauntingly beautiful and suffused with a creeping sense of horror cut through with poignant wonder. With associative sleights of pen, it connects a varied collection of stories, places, and emotions. And it's built from the helical stanzas—with their short, central middle lines acting as narrow waists to the longer first and last—that Gregerson invented, and that she once said "saved my life."
Here are a few lines of the poem:
… When Gordon was a boy
they used to load
the frozen river on a sledge here and
in August eat the heavenly reward—sweet
of winter's work. A piece of moonlight saved
against the day, he thought. And this is where
the Muir boy
drowned. And this is where I didn't.
Read the rest here. Then, explore some of Gregerson's other work for The Atlantic and see what Garth Greenwell had to say about her latest poetry collection.
Poem of the Day: 'Barbara Frietchie' by John Greenleaf Whittier
Gerald Herbert / AP
Yesterday I wrote about the patriotic myth of "Paul Revere's Ride," recounted in Henry Wadsworth Longfellow's famous 1861 poem.
Longfellow's fellow Atlantic founder John Greenleaf Whittier put a similar, though less historically accurate, myth to paper in "Barbara Frietchie," from our October 1863 issue. The poem—inspired, like Longfellow's, by the abolitionist cause—tells the story of an elderly woman who refused to lower her American flag when Confederate forces marched through her Maryland town:
Forty flags with their silver stars,
Forty flags with their crimson bars,
Flapped in the morning wind: the sun
Of noon looked down, and saw not one.
Up rose old Barbara Frietchie then,
Bowed with her fourscore years and ten;
Bravest of all in Frederick town,
She took up the flag the men hauled down;
In her attic-window the staff she set,
To show that one heart was loyal yet.
Shortly after Whittier died in 1892, literary critic George Edward Woodberry celebrated him as an American myth-maker for the ages:
The length of his life carried him beyond his time. It is plainer now than it was at an earlier day that his poems are one of the living records of a past which will be of perennial interest and ever held in honor. …
In his … poems he had told the legends of the country, and winnowed its history for what was most heroic or romantic. … He had shared in the great moral passion of his people in peace and war, and had become its voice and been adopted as one of its memorable leaders.
In another eulogy, Atlantic co-founder Oliver Wendell Holmes had similarly effusive praise for Whittier's moral impact:
Peaceful thy message, yet for struggling right, —
When Slavery's gauntlet in our face was flung, —
While timid weaklings watched the dubious fight
No herald's challenge more defiant rung. …
In the brave records of our earlier time
A hero's deed thy generous soul inspired,
And many a legend, told in ringing rhyme
The youthful soul with high resolve has fired.
It's strange reading through these old pieces now, because until I started digging into The Atlantic archives this year I had never heard of Barbara Frietchie, or of Whittier. Unlike "Paul Revere's Ride," this myth of American heroism never reached me, no matter how much Woodberry believed Whittier's works would "be of perennial interest and ever held in honor."
In 1999, parsing American verse for a sense of national identity, then poet-laureate Robert Pinsky noted the country's lack of a common cultural foundation:
The nation developed with a relative scarcity of unifying folk culture—a single web of rhymes, songs, peasant tales, and superstitions passed down by grandparents. What we lacked in unity of that kind we made up for with richness and variety.
I've definitely heard a variety of stories, poems, and songs about American history—from the fable of George Washington and the cherry tree to "Paul Revere's Ride" to, more recently, the musicalized life of Alexander Hamilton. And as I've moved from state to state and read deeper into the country's history, I've constantly stumbled across new ones. Like "Barbara Frietchie."
Though it's disconcerting to see how the work Woodberry and Holmes believed to be so important and enduring could disappear into America's web of cultural myths over time, Pinsky saw value in this variable understanding of our national past:
The greatness of our nation, then, may consist partly in its ability to thrive, to endure, and to evolve without certain marks of peoplehood. Indeed, a major, traditional American proposition has been that our greatness consists precisely in the fact that we are making it up as we go along—that we are perpetually in the process of devising ourselves as a people.
But he also asserted that "the supposed American lack of historical sense is itself in part a national myth or delusion," because our culture is linked to a continuous thread of American memory.
"Deciding to remember, and what to remember, is how we decide who we are," Pinsky concluded. This month I'm looking back on poetry I love in our archives. And today, for the first time, I'm taking a moment to remember Whittier and Barbara Frietchie.
Update from a reader, Marc:
Like you, I was completely unaware of this poem until today—but I've known Barbara Frietchie's name since I was quite small, because my parents were fans of Ogden Nash. Buried in one of our several collections of his verse (I won't call it "poetry" exactly), perhaps in "The Golden Trashery of Ogden Nashery," was this bit of fun from Nash's "The Scratch":
I am greatly attached
To Barbara Frietchie—
I bet she scratched
When she was itchy.
Poem of the Day: 'Paul Revere's Ride' by Henry Wadsworth Longfellow
Charles Green Bush / The New York Public Library
On this day in 1775, patriots in Lexington and Concord fought the first battles of the American Revolution. Which means that the late hours of last night and the very early hours of this morning marked the anniversary of another memorable event in American history, recalled by Atlantic co-founder Henry Wadsworth Longfellow:
Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five
Longfellow's famous poem recounts the silversmith's long ride through Middlesex County to warn the revolutionaries that the British were on their way—thus allowing the Americans to muster their forces and drive back the British the following morning.
"Paul Revere's Ride" first appeared in our January 1861 issue, just months before the Civil War broke out. As Sage Stossel noted in her 2011 preface to the poem, the timing was no accident:
Longfellow was a committed abolitionist … With "Paul Revere's Ride," he sought to create a patriotic national myth that would remind readers of their shared heroic past while galvanizing them to once more stand up for the nation's founding principles.
The patriotic myth Longfellow created has certainly endured, long after the abolitionist cause that inspired him to publish it claimed victory in the Civil War. As a kid, I first learned about Revere and the lead-up to the battles of Lexington and Concord from Longfellow's poem, and my mom, when Revere's ride is mentioned, can still recite several lines from memory. According to then-poet laureate Robert Pinsky's "Poetry and American Memory," from our October 1999 issue, she's not the only one:
Part of our peculiar claim to greatness as a nation rests on the fact that we have done without many elements that might be thought of as the marks of a great people, among them a myth of origin. Americans have been suckled by no wolf, sired by no Trojan fleeing Troy; they are not descended from the sun or from dragon's teeth sown in the earth, not chosen by a god or descended from Olympian trysts with mortal maidens, not descended from any totem animal or enchanted soil or ancient race. Henry Wadsworth Longfellow, passionately determined that the young American nation develop a distinct culture for its people, wrote "Paul Revere's Ride" in a conscious effort to supply such a myth—and with some success: I can testify that many Americans, including Senator Edward Kennedy, have much of the poem by heart.
In 2000's "Recollecting Longfellow," our poetry editor David Barber celebrated these patriotic efforts, their significance, and their legacy:
Longfellow deserves no less than to be remembered as the native bard who gave mythic dimension to the country's historical imagination, a national poet of epic sweep and solemn feeling who came along right at the moment when the emerging nation had the most need for one.
In remembrance of Longfellow's remarkable career and Revere's ride, here are a few more lines of the poem—the very same ones that I long ago recited for an elementary-school class:
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm, —
A cry of defiance, and not of fear, —
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
Poem of the Day: 'Jersey Rain' by Robert Pinsky
Stoyan Nenov / Reuters
In an online conference with The Atlantic in 1995, the former poet laureate Robert Pinsky meditated on the idea of physical, imagined, and remembered places:
Many of our most energetic and vivid "here"s—one might almost say our most physically vivid "here"s—are in the imagination. Even while making love or playing a sport or eating, most of us are also "here" in our imagination, here in a series of quotation marks …
I am from … a lower-middle-class family in a small town in New Jersey. My grandpa had a bar there. My family was nominally Orthodox Jewish. My work, I think, tries to pull together as many of the different kinds and levels of American speech and experience as I can. I think the class and place I am "from" are good for the imagination—but what "here" is not?
Pinsky brings this sense of his origins into "Jersey Rain," from our April 2000 issue. In the poem, he imputes a sort of magic to the rain of his native state:
I feel it churning even in fair weather
To craze distinction, dry the same as wet.
In ripples of heat the August drought still feeds
Vapors in the sky that swell to smite the state—
The Jersey rain, my rain, in streams and beads
You can read the full poem here, and find some of Pinsky's other works for The Atlantic here.
Poem of the Day: 'Half Moon, Small Cloud' by John Updike
Pulitzer Prize-winning author John Updike is best remembered for his insightful and richly descriptive novels and short stories about middle-class America. But he often applied his distinctive literary style to poetry as well, producing eight volumes of verse over the course of his lifetime. In his poetry, as in his prose, he had a talent for making everyday things seem beautiful and strange.
For instance, here's a bit of Updike's "Half Moon, Small Cloud":
For what is the moon, that it haunts us,
this impudent companion immigrated
from the system's less fortunate margins,
the realm of dust collected in orbs?
Read the full poem from our October 2006 issue here, and then take a look at some of Updike's other poems in our archives.
Poem of the Day: 'The Five Spot' by Billy Collins
In 2014's "The Joy of the Memorized Poem," former Poet Laureate Billy Collins describes why poetry matters in contemporary life:
Poetry privileges subjectivity. It foregrounds the interior life of the writer, who is trying to draw in a reader. And it gets readers into contact with their own subjective life. This is valuable, especially now. If you look around at the society we live in, we're being pulled constantly into public life … I think I read recently that we're not suffering from an overflow of information—we've suffering from an overflow of insignificance. Well, poetry becomes an oasis or sanctuary from the forces constantly drawing us into social and public life.
Poetry exerts a different kind of pull on us. It's a pull towards meaning and subjectivity.
Collins offers just such an insight in "The Five Spot," from our May 2014 issue. In a characteristically graceful and plain-spoken style, he recounts the experience of watching a musician play several instruments at the same time:
Even in my youth I saw
this not as a lesson in keeping busy
with one thing or another,
but as a joyous impossible lesson
in how to do it all at once
Allow Collins to draw you further into his interior life—and your own subjective one—by reading the full poem and exploring some of his other works in our archives.
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Martin Luther King Jr.'s 'Letter From Birmingham Jail'
"We will reach the goal of freedom in Birmingham and all over the nation, because the goal of America is freedom."
In April 1963, King was jailed in Birmingham, Alabama, after he defied a state court's injunction and led a march of black protesters without a permit, urging an Easter boycott of white-owned stores. A statement published in The Birmingham News, written by eight moderate white clergymen, criticized the march and other demonstrations.
This prompted King to write a lengthy response, begun in the margins of the newspaper. He smuggled it out with the help of his lawyer, and the nearly 7,000 words were transcribed. The eloquent call for "constructive, nonviolent tension" to force an end to unjust laws became a landmark document of the civil-rights movement. The letter was printed in part or in full by several publications, including the New York Post, Liberation magazine, The New Leader, and The Christian Century. The Atlantic published it in the August 1963 issue.
Steve Heap / Shutterstock / Getty / The Atlantic
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Political hobbyism is to public affairs what watching SportsCenter is to playing football.
For Querys Matias, politics isn't just a hobby. Matias is a 63-year-old immigrant from the Dominican Republic. She lives in Haverhill, Massachusetts, a small city on the New Hampshire border. In her day job, Matias is a bus monitor for a special-needs school. In her evenings, she amasses power.
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The document released by the president's lawyers reads more like the scream of a wounded animal than a traditional legal filing.
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At least, one of them was a legal brief. The other read more like the scream of a wounded animal.
The House managers' brief is an organized legal document. It starts with the law, the nature and purposes of Congress's impeachment power, then walks through the evidence regarding the first article of impeachment, which alleges abuse of power, and seeks to show how the evidence establishes the House's claim that President Trump is guilty of this offense. It then proceeds to argue that the offense requires his removal from office.
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Dear Therapist,
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When Ayatollah Ali Khamenei led prayers at Tehran's Grand Mosque for the first time in eight years on Friday, Iran's supreme leader described the downing of Ukrainian Airlines Fight 752 by his military as a "bitter accident"—one that enemies abroad were exploiting as an excuse to discredit the Islamic Republic. But the real threat to the regime, which has spent decades trying to cement its rule, is the discontent of the Iranian public. Both the plane crash on January 8 and the cover-up that followed struck at the heart of the grievances that shape Iranians' anger toward and alienation from their government. And if the demise of Flight 752 revealed the government's malign disregard for its own citizens, its relentless suppression of the subsequent protests has only underscored its imperviousness to any meaningful accountability.
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Silicon Valley Abandons the Culture That Made It the Envy of the World
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Once upon a time, in the notorious start-up cradle, small was beautiful.
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AnnaLee Saxenian, a professor at the UC Berkeley School of Information, literally wrote the book on what differentiated the Valley from other centers of technology (particularly New England's Route 128). The key words were decentralized and fluid. You worked for Silicon Valley, and working for Silicon Valley often meant striking out on your own, not only to make your name, but because innovation itself required small firms with new visions. That's how disruption happened, no?
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I knew nothing about Cole before meeting him; he was just a name on a list of boys at a private school outside Boston who had volunteered to talk with me (or perhaps had had their arm twisted a bit by a counselor). The afternoon of our first interview, I was running late. As I rushed down a hallway at the school, I noticed a boy sitting outside the library, waiting—it had to be him. He was staring impassively ahead, both feet planted on the floor, hands resting loosely on his thighs.
My first reaction was Oh no.
It was totally unfair, a scarlet letter of personal bias. Cole would later describe himself to me as a "typical tall white athlete" guy, and that is exactly what I saw. At 18, he stood more than 6 feet tall, with broad shoulders and short-clipped hair. His neck was so thick that it seemed to merge into his jawline, and he was planning to enter a military academy for college the following fall. His friends were "the jock group," he'd tell me. "They're what you'd expect, I guess. Let's leave it at that." If I had closed my eyes and described the boy I imagined would never open up to me, it would have been him.
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Andrew Lisdahl was mad. His wife, Gretchen, had smoked a cigarette, a habit he detested. They fought, and Gretchen spent the night at a friend's house. The next day, Andrew drank a bottle of tequila and hitched a ride to the stained-glass studio where Gretchen, an artist, gave lessons. When Andrew found her, he grabbed her left hand and tried to remove her wedding ring, but Gretchen fought him off. As Andrew stumbled away, he took Gretchen's car keys and phone.
After work, Gretchen's father drove her back home to retrieve her things. Inside, Andrew had been passed out on the couch, but he woke up and yelled at Gretchen, "Get the fuck out!" When she didn't, he grabbed her by the hair, dragged her into the living room, threw her on the carpet, kicked her in the chest, and pinned her to the ground. As Gretchen's father approached the house, Andrew let her go and she was able to escape.
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Looking at Libraries
A Portrait of Public Libraries
Dayton, Ohio, Is 'a Place That Knows What It Is'
How Artists Build the Spirit of a Town


text:
Q: Login into moodle with another website's google sso id_token What if a site is already logged in with google sso and has it's sso id_token and by using of that wants to login into moodle website by bypassing it's login page. Is this achievable from Oauth2? If yes then how?
If not possible then one may have to submit the moodle login form manually which may require a decrypted password stored from db and then submit the form with it.. how it can be achievable then?

A: This scenario is not possible in OpenID Connect (OIDC is the one that deals with ID tokens, not OAuth). An ID token is issued to a concrete audience (the client, or Relying Party in OIDC terms). Another client (moodle, in your case) can't use this token as it's not intended for it.
I'm not sure what you mean in the second part of your post.

redpajama_set_name: RedPajamaStackExchange


text:
Architectural drawing (32)
Zip-a-tone (9)
Wove paper (4)
Markers (drawing instruments) (1)
Skidmore, Owings & Merrill (32)
John Hancock Center (32)
Michigan Avenue (32)
Skyscrapers (32)
Design sketch (1)
Architecture and Design (32)
Wolman Project, John Hancock Center, Chicago, Illinois, Section, 1965
Skidmore, Owings & Merrill
John Hancock Center, Chicago, Illinois, Elevation Sketch, c. 1965–1968
John Hancock Center, Chicago, Illinois, Elevations and Plans, 1965
John Hancock Center, Chicago, Illinois, Elevation, c. 1965–1968
John Hancock Center, Chicago, llinois, Elevation, c. 1965–1968
Wolman Project, John Hancock Center, Chicago, Illinois, Floor Plan, c. 1965–1968
John Hancock Center, Chicago, Illinois, Facade Sketch, c. 1965–1968
John Hancock Center Chicago, Illinois, Interior Elevation, c. 1965–1968
John Hancock Center, Chicago, Illinois, Design Sketch, c. 1965–1968
Wolman Project Base, John Hancock Center, Chicago, Illinois, Site Plan, c. 1965–1968
John Hancock Center, Chicago, Illinois, Sections, c. 1965–1968
Scheme One Wolman Project, John Hancock Center, Chicago, Illinois, Section, 1965
Wolman Project, John Hancock Center, Chicago, Illinois, Site Plan, 1965
John Hancock Center, Chicago, Illinois, Site Plan, 1965
John Hancock Center, Chicago, Illinois, Elevations, c. 1965–1968
First Floor, Second Floor, and Lower Court, John Hancock Center (875 North Michigan Avenue), Chicago, Illinois, Multiple Views, c. 1965–1968
John Hancock Center, Chicago, Illinois, Partial Elevation, 1965
John Hancock Center, Chicago, Illinois, Floor Plan, c. 1965–1968
John Hancock Center, Chicago, Illinois, Elevation Sketch, 1965
John Hancock Center, Chicago, Illinois, Transverse Section,, c. 1965–1968
John Hancock Center, Chicago, Illinois, Section, c. 1965–1968
John Hancock Center, Chicago, Illinois, Section, 1965
John Hancock Center, Chicago, Illinois, Swimming Pool Section, 1965

redpajama_set_name: RedPajamaCommonCrawl


text:
Commelina fluviatilis is an herbaceous plant in the dayflower family found primarily in Central Africa. It is known from Tanzania, the Democratic Republic of the Congo, Zambia, and the Caprivi Strip region of Namibia.

It is one of the most distinctive members of its genus because of its semi-aquatic habitat preference, its floating stems, its long and narrow leaves that are folded in on themselves, and its many-flowered lower cincinnus, just to name a few characters. The species has tuberous roots set in the soil which allow it to withstand periods of severe drought despite its preference for water. It can grow in over a half meter of water, typically in marshes, swamps, rivers, or lake shores. Like many members of the genus, it cannot self-pollinate, and furthermore has a tendency for its ovules to abort, leading to fruits with few seeds.

A phylogenetic study based on the nuclear ribosomal DNA region 5S NTS and the chloroplast region trnL-trnF, two commonly used gene regions for determining relationships, revealed that Commelina fluviatilis forms a clade with Commelina purpurea and Commelina welwitschii. Both of these relatives are African, share an unusual leaf anatomy, and have linear leaves that are often folded.

References

fluviatilis
Flora of Africa
Aquatic plants
Plants described in 1967

redpajama_set_name: RedPajamaWikipedia


The biggest and most qualified mold inspection company offers its services to the entire state of Niles, Ohio Water without a conflict of interest. Only inspectors that are qualified and have years of experience are employed by us. You can be sure that whichever inspector is designated to your residence has seen issues similar to yours in the past. Other than producing in depth protocols for customers that do in fact have a problem, Mold Inspection and Testing has no role in the mold removal work so you can trust the Niles mold testing results your get from us to be the truth.
You might have found yourself at our website because you are experiencing something out of the ordinary that has you thinking mold may be a problem in your property or business. Each situation is unique in its own way, but most mold problems occur for comparable reasons. Just know that our experienced and certified mold inspectors have seen it all. If there is a issue present, they will be able to find it and supply the best plan for Niles mold tests possible. Prior to any sample collection, you will have the final say in what is to be submitted.
Unlike "free mold inspections" in Niles, Ohio Water offered by various companies that do practice mold restoration; our service is complete with mold testing. This is the only way to get black and white evidence and be sure of exactly what is going on with your indoor environment. Since some variations of mold are not toxic, some things that may look bad to you may not be as major as you think. This means you might not require professional intervention at all and we will be ecstatic to relay that information to you. If going through insurance or if you are in any sort of argument, having our report can be a backbone of your argument.
On the flip side our Niles mold inspection in Ohio Water still offers you valuable information for situations in which a issue does exist. Our detailed report will include the origin of the issue, what species of mold is present, and how far the problem has spread. Mold remediation is a very expensive process and has to be carried out by a company that knows what they are doing. Having our report will benefit you by making sure no useless work is done to keep the bill as small as possible. Following the step-by-step protocol we lay out will also make sure the job is done right the first time.
We hope that you realize the benefit of a Niles mold inspection before to appointing a company to handle a remediation project. Spending a little more money up front will most likely save you some of money and aggrevation in one way or another in the big scheme of things. If you do decide to go straight into the removal process, we highly recommend getting a clearance test before the buildback in order to ensure the issue was handled properly and the job is complete. Please call us with any questions or to schedule an inspection at 855-600-MOLD. Mold Inspection and Testing also serves all of the following cities around Niles, Ohio.
Last updated: October 21, 2013 at 20:12 pm by Eric R.


The dictionary says a project is "an individual or collaborative enterprise that is carefully planned and designed to achieve a particular aim." That gives us a start, but it doesn't describe the curiosity, creativity, cohesion or the ultimate clarity a project can offer a visual artist. Unlike more purely spontaneous endeavors, there is a special consciousness to a project. It can be as simple as a single artwork, or multifaceted, but what all projects share is an organizing process and a finite purpose.
Picasso's Guernica was a project originating with passionate political and moral motives. Matisse's Jazz was a publication reflecting the improvisational qualities of two art forms. Mondrian's Broadway Boogie Woogie is a single easel painting culminating a lifetime's experimentation with the potentials of Neoplasticism. Aaron Siskind's abstract Road Tar photographs or Hanna Hoch's political photo-collages From an Ethnographic Museum are tours de force in the original use of the photographic medium. Joan Mitchell's La Grande Vallee represents a year's work on a group of deeply personal paintings conceived in memory of her sister.
Each of these projects are notable because they are masterworks, but there are many ways to consider the possibilities a project inspires, whether ambitious or modest in scope.
Examples could be the development of a suite of collages exploring abstraction, a portfolio of mixed media combined with photographic imagery, a series of paintings investigating the use of color in relation to a particular subject matter, a limited edition of experimental iPhone imagery, a traditional photo essay, a sketchbook dedicated to the study of form in landscape, or a sequence of drawings capturing time and motion in space.
Identifying a project initiates a process wherein the imagination and creativity can find structure. It provides a space where ideas and feelings can be brought together in a way that nurtures their growth and supports their production. It carves out a place for the artist to concentrate on transforming curiosity, intuition and intent into a tangible, personal, united whole.


My name is Thomas Espy. I am from Huntsville, Alabama (United States). I am currently studying in the Population and Development Master's programme.
I decided on this particular program and Vyshka (HSE) itself because of the opportunities here. I saw that this was a new programme, that it seemed to have a lot of promise, and that it was within my field and was something that would stretch me a little bit further.
The application and taking care of the paperwork to come here, to get all of my documents apostilled and such like that, ultimately the process went well. It was streamlined and it was clear what I needed to do.
The real value of being at HSE is that, for one, it is a research university. Not only is it a research university, but it's a top notch one here in Russia. With that in mind, there are innumerable opportunities to engage in research, to participate in projects of all types, to network, and to meet people who have some very serious clout in this country.
In terms of classroom dynamics and being in this group, we have many very dedicated students, roughly half Russian and half international. I think that the group dynamics and the social dynamics in our program are actually a driving force for the Population and Development program. First things first, it allows us to learn about other parts of the world and to get new perspectives.
As a result of a couple of conferences that I had heard about from the institute and my programme, I was able to meet with some researchers who do a lot of really important work in the field of migration. I got connected with them in October, spoke with them again in November, and now I'm working as an intern with them, helping them with some translation work as well as a little bit of research. I expect that in the years to come this internship will develop further.
HSE has lots of opportunities. They push a lot of great events and there are many great initiatives out there to get students into the city, to see all the sights, and to get engaged with the social life of the city.


Let me start by saying that Thom Filicia's presentation was probably one of the best I've seen lately. He is just as great as you would imagine, and he was refreshingly insightful, open, and down-to-earth. The presentation took place in a small auditorium with a maximum capacity of, probably no more than 75 at most, which made for a wonderfully intimate environment. I even arrived early enough to have center second row seats (the front was reserved).
they do in their spare time? How do they define their lifestyle?
add to the design plan.
Thom presented 4 case studies (previous projects) and talked in detail about the way he approached each design plan. The in-depth discussion was almost like interning with him on a project--priceless! It was good to see a successful designer using (and improving) on many of the same principles I'm now learning in design school. For me it reinforced my belief that knowing the principles is important, but by no means all it takes to be a successful designer. Learn it, expand upon it, and make it your own.
Thom talked a lot about his background and how he got to where he is today, including how he got discovered (stuck in an elevator with a talent scout and claustrophobe!) and the inspiration behind his furniture line. He shared that he's working on a new book due out next year (yes!!!) and talked about organically following & nurturing your career as a designer. He was full of wisdom, and I'm glad I was able to hear him in an educational environment, because it met me right where I am in my career.
And if you can spare a few more minutes, I found this great video on YouTube which, though old, really sums up the spirit of his energy. Enjoy!
Glamour Girls at the Ritz Carlton!


text:
package govideo

import (
	"context"
	"fmt"
	"log"
	"net/http"

	"github.com/gorilla/sessions"
	"github.com/julienschmidt/httprouter"
	"github.com/sickyoon/govideo/govideo/models"
)

// ContextKey -
type ContextKey string

// AuthClient provides authentication
type AuthClient struct {
	*sessions.CookieStore // cookie session to store user info
	*MongoClient          // db client to store user info
	*RedisClient
	redirectURI string
	cookieKey   string
	sessionKey  string
	contextKey  ContextKey
}

// NewAuthClient creates new AuthClient with random key
func NewAuthClient(store *sessions.CookieStore, db *MongoClient, cache *RedisClient) (*AuthClient, error) {
	cookieKey, err := GenerateKey()
	if err != nil {
		return nil, err
	}
	sessionKey, err := GenerateKey()
	if err != nil {
		return nil, err
	}
	contextKey, err := GenerateKey()
	if err != nil {
		return nil, err
	}
	return &AuthClient{
		CookieStore: store,
		MongoClient: db,
		RedisClient: cache,
		redirectURI: "/login",
		cookieKey:   cookieKey, // TODO: random-generated string key
		sessionKey:  sessionKey,
		contextKey:  ContextKey(contextKey),
	}, nil
}

// Middleware for authentication
func (ac AuthClient) Middleware(h http.Handler) http.Handler {
	return http.HandlerFunc(func(w http.ResponseWriter, r *http.Request) {
		ctx := ac.authMiddleware(w, r)
		if ctx != nil {
			h.ServeHTTP(w, r.WithContext(ctx))
		}
	})
}

// HttprouterMiddleware -
func (ac AuthClient) HttprouterMiddleware(h httprouter.Handle) httprouter.Handle {
	return httprouter.Handle(func(w http.ResponseWriter, r *http.Request, ps httprouter.Params) {
		ctx := ac.authMiddleware(w, r)
		if ctx != nil {
			h(w, r.WithContext(ctx), ps)
		}
	})
}

func (ac AuthClient) authMiddleware(w http.ResponseWriter, r *http.Request) context.Context {
	user, err := ac.CurUser(r)
	if err != nil {
		ErrorHandler(w, err.Error(), http.StatusUnauthorized)
		return nil
	}
	ctx := context.WithValue(r.Context(), ac.contextKey, user)
	return ctx
}

// Redirect redirects to authenticate uri
func (ac AuthClient) Redirect(w http.ResponseWriter, r *http.Request) {
	http.Redirect(w, r, ac.redirectURI, http.StatusFound)
}

// Authenticate authenticates user with provided credentials
// To be called by login handler
func (ac *AuthClient) Authenticate(w http.ResponseWriter, r *http.Request, email, password string) (*models.User, error) {
	dbUser, err := ac.validate(email, password)
	if err != nil {
		return nil, err
	}
	cacheUser, err := ac.setCache(dbUser)
	if err != nil {
		return nil, err
	}
	err = ac.setSession(w, r, cacheUser)
	return dbUser, err
}

// CurUser gets currently logged-in user
func (ac *AuthClient) CurUser(r *http.Request) (*models.User, error) {
	key, err := ac.getSession(r)
	if err != nil {
		return nil, err
	}
	user, err := ac.getCache(key)
	if err != nil {
		return nil, err
	}
	// TODO: remove hash before serving
	return user, nil
}

// ClearUser removes current user session
func (ac *AuthClient) ClearUser(w http.ResponseWriter, r *http.Request) error {
	key, err := ac.getSession(r)
	if err != nil {
		return err
	}
	err = ac.clearSession(w, r)
	if err != nil {
		return err
	}
	return ac.clearCache(key)
}

// Validate authenticates user against database
func (ac *AuthClient) validate(email, password string) (*models.User, error) {
	// TODO: validate email/password
	// TODO: hash password
	return ac.GetUserFromDB(email, []byte(password))
}

func (ac *AuthClient) setCache(user *models.User) ([]byte, error) {

	// serialize user
	userBytes, err := user.Marshal()
	if err != nil {
		return nil, err
	}

	// set user to redis cache
	return ac.SetAuthCache(user.Email, userBytes)
}

func (ac *AuthClient) getCache(key []byte) (*models.User, error) {

	// get user from redis cache
	userBytes, err := ac.GetAuthCache(key)
	if err != nil {
		return nil, err
	}

	// deserialize user
	user := models.User{}
	err = user.Unmarshal(userBytes)
	if err != nil {
		return nil, err
	}
	return &user, nil
}

func (ac *AuthClient) clearCache(key []byte) error {
	return ac.ClearAuthCache(key)
}

func (ac *AuthClient) setSession(w http.ResponseWriter, r *http.Request, user []byte) error {
	session, err := ac.Get(r, ac.cookieKey)
	if session == nil && err != nil {
		// It should ALWAYS return new session in case of error!
		log.Println("FATAL: Should ALWAYS return new session in case of failure")
		return err
	}
	session.Values[ac.sessionKey] = user
	return session.Save(r, w)
}

func (ac *AuthClient) clearSession(w http.ResponseWriter, r *http.Request) error {
	session, err := ac.Get(r, ac.cookieKey)
	if session == nil && err != nil {
		// It should ALWAYS return new session in case of error!
		log.Println("FATAL: Should ALWAYS return new session in case of failure")
		return err
	}
	if _, ok := session.Values[ac.sessionKey]; ok {
		delete(session.Values, ac.sessionKey)
	}
	return session.Save(r, w)
}

func (ac *AuthClient) getSession(r *http.Request) ([]byte, error) {
	session, err := ac.Get(r, ac.cookieKey)
	if session == nil && err != nil {
		// It should ALWAYS return new session in case of error!
		log.Println("FATAL: Should ALWAYS return new session in case of failure")
		return nil, err
	}
	userData, ok := session.Values[ac.sessionKey]
	if !ok {
		return nil, fmt.Errorf("failed to get user session")
	}
	return userData.([]byte), nil
}

redpajama_set_name: RedPajamaGithub


text:
Music » Music Stories & Interviews
Will Axl Rose Sing for AC/DC in Group's Remaining Concerts?
by Travis Buffkin
The always combustible Axl Rose, sans cornrows
With doctors reportedly telling AC/DC's frontman Brian Johnson that if he continues touring with the Australian rock group, originally fronted by The Bon Scott, that he'd go deaf, Axl Rose is rumored to be stepping in for the final 10 shows of the band's rescheduled North American tour.
"Nothing official to announce. Will update you if that changes," a representative for the band told British music magazine NME.
All ticket links for the"Rock or Bust" tour are met with an official statement from the band, below:
AC/DC are forced to reschedule the 10 upcoming dates on the U.S. leg of their "Rock or Bust" World Tour ... AC/DC's lead singer, Brian Johnson, has been advised by doctors to stop touring or risk total hearing loss. The rescheduled date[s] will be announced at a later time, likely with a guest vocalist.
What exactly has inspired folks to draw the Axl conclusion is the presence of the former Guns N' Roses singer, who will be teaming back up with his former outfit for Coachella and a rumored world tour, in Atlanta at the same time as AC/DC and a statement from Jason Bailey, a disc jockey at 100.5 FM in Atlanta.
"This is what I'm being told, Axl was meeting with the AC/DC group, because it's all but a done deal that Axl will front AC/DC for the ten remaining shows. All ten, including Atlanta."
Adding, "They're in town, they were auditioning people for the job, and then they flew Axl in, again, this is from my source."
So, will the controversial frontman be the third in a string of legendary vocalists, their voices as distinct as Angus and Malcolm Young's iconic riffs? Or will the group, after Malcolm's departure in 2014 due to illness follow him into the rock 'n' roll void, leaving behind an impressive legacy of killer riffs, tiny schoolboy outfits, guttural, growling vocals and numerous, classic rock hits. Or, will Axl (or someone else) take the reins for the twilight of the group's existence?
Axl Rose AC/DC Rock or Bust Jason Bailey Brian Johnson Malcolm Young Angus Young Video
As More Musicians Design Custom NBA Tees it Begs, 'Who Should Rep the Spurs?'
by Travis Buffkin | Mar 25, 2016
Send Your Baby Off to Sleep With Rihanna's New Lullaby Album
Hot Kidz in the City: A Chat with a Kidz Bop Kid
by Shannon Sweet | Mar 24, 2016
Photo By "zack"
10 Shows to See This Weekend
A Tribe Called Quest's Phife Dawg Dies at 45
The Rock 'n' Roll Moxy of Philly's Sheer Mag
by Matt Stieb | Mar 23, 2016
Additional Music Slideshows
Everything we saw during Khruangbin's second mind-bending night at San Antonio's Tobin Center
Everything we saw as The Toadies and Rev. Horton Heat blew the roof off of San Antonio's Aztec Theatre
All the San Antonio Current's best music photography from 2021


ST LOUIS, MO – Unless you are a vegetarian, like I am, most people love a great steak. St. Louis has plenty of great restaurants to choose from. We have created a list of the Top-10 Steak Restaurants in St. Louis, MO.
Congratulations to the finalists. Like our other Top-10 lists, they are compiled based on public information about customers' online reviews. This is not our opinions and ratings, its is customer just like you.


Riding with my friend from Germany at my place. We have a lot of fun in this type of terrain. As you can see in the video i'm riding exc250tpi and Marvin rides his exc300tpi with special suspension tuned, in front he is using WP Crone valve special forks and on rear special re-valved shock by braenzlig suspensions. Some people think i am TPI hates but that isn't true, i am just really honest guy who just shared his experience. Its very good bike when its running correct with latest updated mapping. But its very sensitive bike with a lot of sensors, and small problem can make you bad day.
that you can find on social networks.
KTM TPI Oil Pump Failure & Leaking Oil Tank - Duration: 12 minutes.
Funnelweb Air Filter for Sherco SE250 2019 - Duration: 8 minutes, 1 second.
My twin will explain how to use Funnelweb Air Filters, she is not a professional in this things. But surely you will like more looking her doing this than me.
KTM 250EXC TPI LONG TERM REVIEW - Duration: 12 minutes.
ENDURO RACING CAN ALWAYS GO WRONG - Duration: 12 minutes.
Sherco 250 SE Factory 2019 - UPDATE #1 - Duration: 10 minutes.
First video update about my new bike, more in future !
My New Bike: 2019 Sherco 250 SE Factory - Duration: 12 minutes.
ENDURO FOR LIFE ! - Duration: 11 minutes.
ENDURO WIDE OPEN THROTTLE - EXC450 vs 250TPI - Duration: 14 minutes.
Do you like more 2stroke or 4stroke ??
KTM TPI Problems and How to Fix Them - Duration: 24 minutes.
In this video i am going to show you few problems with TPI bikes, and how to fix it . Also how to check your oil pump, maintenance your air pressure sensor and more useful things for TPI owners.
Enduro - Exploring the New Terrain - Duration: 10 minutes.
Just having fun riding my KTM EXC250 TPI and exploring new terrain.
Beta RR 480 2018 - ISSUES & COMMON PROBLEMS - Duration: 11 minutes.
We didn't found any good information on youtube about Beta RR480, so we dedicated to make this video. This is great dual sport bike but it has few problems but its easy to fix it .
ENDURO - KNOW YOUR LIMIT - Duration: 11 minutes.
ENDURO - NO LIMITS - Duration: 3 minutes, 21 seconds.
KTM EXC250 TPI with X-GRIP DIRTDIGGER 120/90-18 - Duration: 10 minutes.
TRAINING TO CLIMB VERTICAL FACES ON DIRTBIKES - Duration: 7 minutes, 14 seconds.
KTM EXC250 TPI 2018 - PURE 2 STROKE SOUND - Duration: 7 minutes, 49 seconds.
KTM EXC250TPI & KTM EXC300TPI - BEST ENDURO BIKE - Duration: 10 minutes.
KTM EXC250 TPI - WHEELIES & BALANCE PLAYGROUND - Duration: 6 minutes, 40 seconds.
Riding with my Crew - KTM 300TPI & KTM250TPI - Duration: 4 minutes, 52 seconds.
KTM EXC300TPI from BRAENZLIG with Special forks & modified shock - Duration: 98 seconds.
DIRTBIKE WINTER RIDING IN DEEP SNOW - Duration: 7 minutes, 9 seconds.
The Wall Enduro Technique Training for better Skills - KTM EXC250 TPI - Duration: 5 minutes, 13 seconds.
WINTER FUN CAN BEGIN & SNOW RIDING - KTM EXC 250 TPI 2018 FUEL INJECTED - Duration: 2 minutes, 24 seconds.
Extreme CC Nin 2017 - 1 Lap - Duration: 14 minutes.
The Enduro Weapon - KTM EXC250 2015 - Duration: 8 minutes, 58 seconds.
Enduro & Motocross is Awesome - Duration: 10 minutes.
Hard Extreme Enduro Race SILBER 2015 - Duration: 12 minutes.
The Life of Enduro Rider | Supermoto & Racing - Duration: 11 minutes.
Enduro Technique - Riding in Abandoned Territory - Duration: 16 minutes.
The Big Enduro Dangerous Ride | Fear of Broken Bones - Duration: 9 minutes, 23 seconds.
Enduro for Life | The definition of Braaap? - Duration: 10 minutes.
I Broke my KTM! - Idiots Riding Enduro - Duration: 13 minutes.
WTF ENDURO CRASH TEST ! - Duration: 12 minutes.
NEW KTM EXC250 2017 Six Days - Duration: 9 minutes, 51 seconds.
EXC300 Riding on Back Yard Endurocross Track - Duration: 4 minutes, 1 second.
The Enduro Beast - KTM EXC300 - Duration: 16 minutes.
Brutal Extreme Hard Enduro Race SILBER 2016 - Duration: 13 minutes.
Enduro a Way of Life - Fast Race Tomislavgrad 2016 - Duration: 7 minutes, 19 seconds.
Urban Enduro in Warehouse - Duration: 7 minutes, 10 seconds.
HARD ENDURO FOR LIFE - The Race of Pain 2016 - Duration: 13 minutes.
Enduro Animals again in Forest - Duration: 10 minutes.
The Sound of Power - KTM EXC 300 ON THE PIPE - Duration: 4 minutes, 31 seconds.
DO YOU WANNA TAKE A RIDE ON MY KTM EXC300 ? - Duration: 9 minutes, 25 seconds.
Riding on Edge of Abandoned Mines - Duration: 12 minutes.
Dangerous Enduro Hills - Duration: 8 minutes.
Wild Santa Claus Enduro WTF - Duration: 8 minutes, 29 seconds.
ENDURO FREERIDE 2015 - Duration: 7 minutes, 1 second.
The Dirtbike Rider Compilation + Wheelies Crashes Snow Race Crazy Jump Fails 2015 - Duration: 20 minutes.
CRF 250 Throttle Wide Open + Wheelies Crashes Police Jumps - Duration: 3 minutes, 17 seconds.
Wheelie behind Police - CRF 250 illegal street ride wheelies - Duration: 3 minutes, 16 seconds.
The Shadow of The Beast - CRF250 in Forest Action Wide Open - Duration: 4 minutes, 32 seconds.
CRF 250 Wide Open Enduro - How Destroy Your Bike - Duration: 107 seconds.
Enduro Rider Get His Revenge | Movie 2015 - Duration: 8 minutes, 7 seconds.
CRF 250 Rider Going Crazy (Wheelies,Burnouts,Police,Hillclimbs,Crashes,Jumps) - Duration: 6 minutes, 42 seconds.
Riding with My Friends | End of Summer 2014 - Duration: 5 minutes.
Crazy Enduro Challenge : Pushing Our Skill Limits - Duration: 8 minutes, 1 second.
Honda CRF250 vs Honda CR250 [RAW Video] - Pure Engine Sound - Duration: 22 minutes.
First time on new Bike [Honda CRF250R] - Duration: 4 minutes, 38 seconds.
Enduro Nightmare vs Enduro Paradise - Duration: 12 minutes.
Enduro Paradise with Friends 2015 - Duration: 10 minutes.
Crazy Epic Hard Enduro Fun with KTM [wheelies & crashes] - Duration: 3 minutes, 33 seconds.
This is why i love Enduro - Ride all day KTM EXC 450 - Duration: 5 minutes, 36 seconds.
Enduro Riders Dont Follow Rules | 10 Minutes of Awesome Terrain - Duration: 10 minutes.
10 Minutes of Hard Enduro with KTM EXC450 - Duration: 9 minutes, 47 seconds.
Crazy Dirt Bike + Broken Bones Compilation 2014 - Duration: 14 minutes.
DANGERBOY DEEGAN | Ten Year Old Kid Doing Backflips - Duration: 6 minutes, 2 seconds.
Hard Enduro Hell - 2 Stroke VS 4 Stroke - Duration: 5 minutes, 35 seconds.
Graham Jarvis - The King of Hard Enduro - Duration: 20 minutes.
Huge Dirt Bike Crash + Crazy Broken Bones Compilation 2015 - Duration: 9 minutes, 12 seconds.
KTM TPI 2018 - Fuel Injected 2 Stroke is HERE ! - Duration: 13 minutes.
Honda CR500 & KTM EXC300 in Woods - Duration: 6 minutes, 21 seconds.
The Strongest Enduro Girl Rider of Hard Enduro - Megs Braap #143 - Duration: 15 minutes.
How to do Pivot Turn - Enduro Technique - Duration: 9 minutes, 2 seconds.
Climbing the Wall - Enduro Technique Training - Duration: 7 minutes, 10 seconds.
HOW TO DO PIVOT TURNS - Enduro Technique - Duration: 10 minutes.
How To Slow Wheelie a Dirt Bike Like Graham Jarvis - Duration: 10 minutes.
HOW TO START DIRTBIKE WITHOUT KICKSTART - Duration: 10 minutes.
KTM EXC 250 TPI 2018 - ENDURO FUTURE - Duration: 6 minutes, 11 seconds.
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text:
How To End Games
End Games
When you're required to go on the offensive to ensure you beat another competitor in the final race, it helps to be aware of the rules of engagement. Rules from our September 2011 issue.
By Dick Rose
Some of my all-time favorite races were the final race of a series in which my boat and one other were the only two that could still mathematically win the series. In those races, in addition to the usual concerns with boatspeed, wind, current, and fleet tactics, I had to devise additional match-racing tactics to ensure that, at the finish, we'd have the points necessary to win.
My goal this month is to give you a guide to all the rule interpretations dealing with the situations that come up in what I call the "end game"—a race, usually the last race of a series, in which two boats match race each other within a fleet race. Of course, this is no normal match race. There may be 10, 50, or even 100 other boats in the fleet, all with their normal rights and obligations, and the usual rules for match racing (Appendix C in the rulebook) do not apply.
(Above: At positions 2 and 5, B is the right-of-way boat and permitted to use her right of way to block A from jibing. Between positions 3 and 4 Rule 16.1 does not apply to B and, therefore, she may change course to block A from tacking. Illustration by Kim Downing.)
If you find yourself in such a close series with, say, Joe, you must know the series scores for you and Joe, and the scores for any throw outs for each of you. Make sure you have up-to-date scores and that you know all you can about any unresolved protests or requests for redress that might change your score or Joe's. Work out your winning combinations—i.e., the various positions in which you and Joe could finish that would result in your winning the series. And don't forget to account for how any tiebreakers might fall.
The most important rule in such a race is Rule 2, Fair Sailing, which states, "A boat . . . shall compete in compliance with recognized principles of sportsmanship and fair play." The reason that this rule is important is that those so-called "recognized principles" are not widely recognized and agreed upon within the sailing community. As an example, quite a few people think it's not fair play for you to closely cover an opponent and drive him back in the fleet in a way that allows several boats to pass you both. Given how diverse the views are on Rule 2, it is important to understand the authoritative ISAF interpretations of Rule 2 found in ISAF Cases 34, 52, and 78. Of these, Case 78 is the most important.
You must also keep Rule 23.2 in mind. It states, "Except when sailing her proper course, a boat shall not interfere with a boat . . . sailing on another leg."
Here are major principles that you can learn from these two rules and the three ISAF cases:
• Case 78 states that it is permissible for you to closely cover Joe on a beat to windward or luff him far off course on a reach or a run provided that (1) you are both on the same leg of the course, (2) you do not break any racing rule, except possibly Rule 2, while maneuvering against Joe, and (3) if protested, you can convince the protest committee that "there was a reasonable chance that your tactic would benefit your series result." It would probably be difficult to convince the protest committee that these tactics were justified in any race other than the last race of a series because in earlier races it would not yet be established that only you or Joe could win the series.
• You can maneuver in these ways even if slowing Joe allows several boats to pass you both.
• You may use these tactics even if they are not successful—that is, Joe manages to win the series or even pass you while you're covering or luffing him.
• Case 34 covers an incident in which a boat was over the starting line at the starting signal and knew that she was over. Instead of returning to the pre-course side of the line and starting as required by Rule 28.1, she sailed part of the way back to the line and then closely covered her series opponent, driving him way back in the fleet. The decision in that case states that the boat that did the close covering broke Rule 2, that it would have been appropriate to take action against her under Rule 69 and to have considered disqualifying her from all races of the series. In addition, the boat that was covered and driven back was entitled to redress under Rule 62.1(d).
• Case 52 describes permissible tactics before the start of a race provided they have a reasonable chance of improving your series score. Boat B may drive Boat A so far away from the starting line, as shown in the diagram, that, after B breaks away from A and jibes to return to start, B is virtually assured a much better start than A. Two different tactics are illustrated here. At positions 2 and 5, B uses right of way under Rule 11 to block A from jibing. While using right of way to block A, B must take care that whenever she changes course she gives A room to keep clear as required by Rule 16.1. Between positions 3 and 4, because B is the keep-clear boat (first under Rule 12 and later under Rule 11) Rule 16.1 does not apply when B changes course. Therefore, B's luff to prevent A from tacking between positions 3 and 4 is permitted.
Many countries, including the United States, now use combined results from several major international regattas as a selection series to pick their Olympic team. For example, Spain might base its Olympic selection for the Laser Class on the results of four major international regattas, with the last of the four being Kiel Week. Spain would announce to its Laser sailors its own special scoring system for its Olympic selection, and, of course, that scoring system would not be included in the Notice of Race or Sailing Instructions for Kiel Week. Suppose that, going into the last race at Kiel, two Spanish Laser sailors, Pedro and Jose, are nearly tied under Spain's scoring system. Is it permissible for Pedro to use end-game match racing tactics against Jose in that race?
ISAF Cases 34, 52, and 78 do not address this question. However, ISAF has a new service for its race officials that permits, say, an International Judge to ask a question of an ISAF Question and Answer Panel, and the answer will appear on the ISAF website at www.sailing.org/raceofficials/q&a-service.php. The panel's answers are not authoritative interpretations and explanations of the racing rules, as the ISAF Cases are. Even though those answers have not had the thorough review that ISAF Cases are required to undergo, they are the considered opinions of the panel, all of whom are experienced ISAF Race Officials.
Two recently published ISAF Q&As (A001 and A004) deal with issues that arise when one or more countries is running their Olympic selection within a major regatta, such as Kiel Week. The answers given in these Q&As reinforce the interpretations given in Case 78, but they go further in two important ways:
• The answers define a "series" as an event governed by one Notice of Race and one set of Sailing Instructions. Kiel Week is a "series," but the Spanish Laser Olympic selection races are not. This means Pedro cannot use the end-game tactics described above if they worsen his standing in Kiel Week. If he did, he would be subject to disqualification under Rule 2, that DSQ score could not be used as his "throw out" (see Rule 90.3(b)), and Jose would be entitled to redress (see Rule 62.1(d)).
• Also, an answer in Q&A A004 singles out one tactic that is always permitted at any time in any race. Pedro can simply follow Jose around the course without interfering with him. That simple strategy might be sufficient to assure Pedro's selection as a member of Spain's Olympic team.
More Buoy Racing, rules, Sailing How To


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