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September 11, 2001 lives in the consciousness of most Americans as the most horrific day in recent memory. How bizarrely ironic that few if any recall the even more terrifying day that occurred less than two months later!
The day the real heinous acts of terror took place—not just in New York City, mind you, but in every city, town and hamlet in the US of A—was October 31, 2001.
Forget hijacked planes, collapsing skyscrapers and people plunging to their death—we're talking vampires, frankensteins, mummies, witches, goblins, ghosts, scary pumpkins—you name it… roving through the streets at night in packs, ringing our doorbells and giving us the heebie-jeebies with one spooktacular costume after another.
Heart attack, anyone?
You want to tell me about spine-tingling, CBS? How would you like to find half a dozen kids wearing Scream masks on your doorstep? Course, any one of them could be the real murderer—or murderers, as we found out in Scream 2.
No, when it comes to 'ween, I for one am gonna have to take a pass. Don't bother coming to my door this year, trick-or-treaters. I'm not trying to come across like an "October Grinch" here—but when it comes to the war on Halloween terror you're looking at one soldier who's goin' AWOL!
Date Written: October 20, 2004
Author: Jon Matza
Average Vote: 3.6
10/25/2004 qualcomm: author, aren't you trivializing 9/11?
10/25/2004 scoop: More importantly aren't you diminishing the efforts of people who truly trivialized 9/11?
10/25/2004 qualcomm: like whom?
10/25/2004 Will Disney: There's also Scream 3.
10/25/2004 qualcomm: spooktacular was a massive error, author. shame. SHAME! yeah, otherwise it's pretty good.
10/25/2004 scoop: Oh I don't know OSS, maybe like the firefighters who stole goods and products from downtown stores and shops and then lied about it. Now that is funny.
10/25/2004 Mr. Pony (4): I think we need to see this performed live to get the full effect, maybe.
10/25/2004 qualcomm: maybe you could pretend to draw it, pony.
10/25/2004 scoop: Hey, I'm pretending to draw it right now.
10/25/2004 Mr. Pony: I think we all could be, scoop, very easily! That's a cool point that Summer made! Pretending is fun! That's when you use your imagination!
10/25/2004 scoop: But Mr. Pony, sometimes when I use my imagination I see terrible, terrible things.
10/25/2004 Mr. Pony: Fellas, please; fun is fun, but now I think we should all direct our attention to this short.
10/25/2004 qualcomm: i'd give this a 3 or 4, but don't think it quite deserves either. i mean, how can we arrange our very complex reactions to literature along such a simple, digital spectrum?
10/25/2004 Mr. Pony: For those of you who haven't heard Summer make this joke before, he is making fun of an assertion I made a while back that arranging everything in the universe in a single-file line from worst to best is a meaningless activity. If you'd like to hear it again, stick around! He'll be making the joke about once every four days in this very forum until he dies at the age of 39! (ironically, of kidney failure!)
10/25/2004 Streifenbeuteldachs: Which comes right before pancreatic cancer, and after dropsy.
10/25/2004 qualcomm: pony's correct: i'm making fun of this assertion he once made a long time ago, only once, and very far back, in the mists of gauzy "time". once.
10/25/2004 Mr. Pony: Must have made quite an impact!
10/25/2004 Dylan Danko (2): Sorry but this is no good. Sorry.
10/25/2004 TheBuyer (4): Like Jean Teasdale but better, not as blog-like.
10/25/2004 Dylan Danko: 39??? I got plans long before that, Pony.
10/25/2004 anonymous: OSS: why'd "'tacular" excite your canker so much?
10/25/2004 qualcomm: 'cause it's 'cient (ancient), brother, even as you use it here, as a way to mock the narrator's lame sense of humor/aesthetic.
10/25/2004 qualcomm: hey author, was your intention that a) the narrator is actually scared of these halloween costumes, or b) that he is misguidedly using 9/11 as a segueway in this terrible small-town newspaper column he has written?
10/25/2004 qualcomm: (humor column, that is)
10/25/2004 anonymous: As I envisioned it, he's actually scared of the costumes (and a fantastic moron).
10/25/2004 TheBuyer: Funny you say 'he' for the narrator, I read it as if the narrator were a 'she' or "woman".
10/25/2004 anonymous: Must you always try to emasculate my characters?
10/25/2004 TheBuyer: Keeps my hands busy when I can't get out for a cigarette.
10/25/2004 qualcomm: that's what i thought, author, and therein lies another problem with spooktacular. would someone who's actually scared of the costumes use that word? you just couldn't resist using it, no matter what the cost, could you?
10/25/2004 anonymous: OSS, who do you think wrote this?
10/25/2004 Litcube (4): I think it's sad that OSS will die from kidney failure. Will it still be ironic even though we're expecting it? What's a segueway? I hate Jean Teasdale. I like this short. It is really good. I like bagels. They are really good.
10/25/2004 qualcomm: anon_a: shut up, you filthy, useless foetus- fucker
10/25/2004 Mr. Joshua (4): I think the inconsistencies are part of the charm of the short, oss. You don't really know where the author is coming from. Did remind me of Teasdale, too, though.
10/25/2004 anonymous: Hey, OSS, what are you doing tomorrow?
10/25/2004 qualcomm: i'unno
10/25/2004 anonymous: OSS: is it possible you were subconsciously predisposed against "spooktacular" because you found the short was raising--or should I say "HAIR-raising"--certain feelings you were reluctant to face?
10/25/2004 qualcomm: yes


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#3 out of 19 in 2018 Affordable Midsize SUVs
2018 Mazda CX-9 Performance Review
The 2018 Mazda CX-9 is one of the most athletic 3-row SUVs in the class. Its thrilling performance around corners makes it a pleasure to drive. The CX-9's engine is well-suited to city driving, though it can feel strained when the vehicle is loaded down. This crossover earns excellent fuel economy for the class.
"Simply put, the Mazda CX-9 is the most fun-to-drive SUV in its class. As with other Mazdas, the CX-9 isn't the segment's most powerful, but its taut handling and turbocharged engine imbue this crossover SUV with athletic flair." -- Kelley Blue Book
"The previous generation of the CX-9 was my favorite member of this class to drive, and the new one is somehow even sharper. Mazda consistently does 'driving feel' better than pretty much any other automaker, and the CX-9 is no exception." -- Cars.com (2016)
"Along the beautiful twisty mountain roads just north of San Francisco, the CX-9 drives like a much smaller vehicle, more station-wagon-like in its look and over-the-road feel than a hulking crossover." -- Automobile Magazine (2016)
Acceleration and Power
The CX-9 has a turbocharged 2.5-liter four-cylinder engine that puts out 227 horsepower (250 horsepower when using 93-octane gasoline). The engine is paired with a six-speed automatic transmission. With standard front-wheel drive, the CX-9 gets 22 mpg in the city and 28 mpg on the highway, which is great for a midsize SUV. All-wheel drive decreases fuel economy to 20 mpg in the city and 26 mpg on the highway.
The four-cylinder engine has plenty of pep to move the CX-9 from a stop. At highway speeds, it can feel a bit underpowered, especially when fully loaded with passengers and cargo. This also means the CX-9 can't tow as much as rivals with more-powerful available V6 engines. When properly equipped, the CX-9 can tow up to 3,500 pounds. The CX-9's transmission makes seamless shifts.
"The 2018 Mazda CX-9 uses a small but potent 2.5-liter turbocharged 4-cylinder good for 227 horsepower and a whopping 310 lb-ft of torque. That low-end torque, combined with sophisticated plumbing for the turbo system, makes this engine feel plenty strong, like a V6 in disguise. " -- Kelley Blue Book
"The engine and transmission combination delivers ultra-smooth operation, with sufficient kick from the turbo to introduce some driving excitement." -- Forbes
If you're the type likely to fill a crossover to the brim with people and cargo, the CX-9 probably isn't your best bet. It's a 4,300-pound vehicle with just 227 horsepower (on 87 octane, at least). In part-throttle situations and typical around-town speeds, the CX-9's turbo four feels adequate, and mostly like a larger powerplant. When push comes to shove, though, we'd prefer more horsepower, especially when merging onto the highway with a full load of passengers and cargo." -- Autoblog (2016)
Ride, Handling, and Braking
Mazda is known for engaging driving dynamics, and the CX-9 lives up to the brand's reputation, despite being the largest model in the lineup. Its athletic handling is aided by a well-tuned suspension and tight steering. Unlike many other 3-row crossovers, the CX-9 feels planted and level around turns. Front-wheel drive is standard, but the optional all-wheel drive will give you better grip when cornering. Even with its sporty handling, the CX-9 maintains a cushioned, comfortable ride for daily driving.
"Despite its size, the CX-9 feels amazingly light on its feet, with responsive steering and a suspension that begs to be pushed hard, especially when the road begins to twist and turn." -- Kelley Blue Book
"When the going got twisty, the CX-9 held its line well. The steering felt crisp and the braking sharp. The new all-wheel-drive system also uses a predictive program to allow the CX-9 to recognize road conditions and adjust the power distribution before the driver even notices the adjustments." -- Automobile Magazine (2016)
"There's just enough body roll in the corners to let you feel what the crossover is doing beneath you without feeling tippy, and the steering offered ample feedback for confidence with just the right amount of weight. It's steering that feels sporty and responsive, without requiring Popeye muscles to make a turn." -- Cars.com (2016)
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redpajama_set_name: RedPajamaCommonCrawl


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The Battle of Wesenberg, Rakvere or Rakovor was a battle fought on 18 February  1268 between the combined forces of Danish Duchy of Estonia, Bishopric of Dorpat, Livonian branch of the Teutonic Knights, and local Estonian militia on one side and the forces of Novgorod and Pskov, led by Dmitry of Pereslavl, on the other. Medieval accounts of the battle vary with both sides claiming victory, however the Livonian victory being more plausible as Novgorodian-Pskovian forces retreated out of Danish Estonia, with Livonian Knights launching a retaliatory attack on Izborsk and Pskov soon afterward, in June 1269.

Account of the Livonian Rhymed Chronicle
According to the Livonian Rhymed Chronicle, the only contemporary primary source describing the battle whose text survives in unaltered form to the present day, the combined forces of the two Russian republics invaded the territory of Danish Estonia in January 1268 where they commenced with looting of the countryside. The Danish vassals requested reinforcements from the neighboring territories ruled by the Livonian Order and the Bishopric of Dorpat, which they received in the form of 34 Brothers from castles Weissenstein, Leal and Fellin plus an unknown number of lesser troops, and from the Bishopric an unknown number of men under the leadership of Bishop Alexander of Dorpat. The contingent of the Livonian Knights was most likely led by a castellan of one of the aforementioned castles, as the Master of the Order, Otto von Lutterberg, was campaigning in the south, in Semgallia (Otto was in Riga on January 16).

When all the forces were assembled the native Estonian troops were positioned on the left flank, which they were told to hold during the battle, while the larger group, the Danish king's men, were stationed on the right. The Brothers and their men are mentioned as having fought on all fronts. The death of Bishop Alexander is listed early in the description of the battle. Two formations of Russians advanced upon them but were beaten back and forced to retreat across a broad field, the retreat turning into a rout and a pursuit. Then Prince Dimitri, who is complimented by the chronicler as being brave, managed to regroup about 5,000 men for a counterattack, while the rest of his army had fled. The Brothers' forces met Dimitri's attack along a deep river. At that point the Brothers are mentioned as having 180 men plus 80 footsoldiers. The footsoldiers led an attack upon a bridge. Then the Brothers joined the attack and the battle was over with 5,000 Russians dead, the rest defeated and routed.

Since the Livonian Rhymed Chronicle also includes battles in which it describes the forces of the Livonian Order (or its predecessor, the Livonian Brothers of the Sword) as on the losing side—like the Battle of Saule or Battle on the Ice—, there is little reason to doubt that the outcome of this battle is stated correctly.

Account of the Chronicle of Novgorod

The Chronicle of Novgorod, 1016–1471, is the main Russian source describing the battle. However, the chronicle was rewritten on multiple occasions, most notably in the 15th century and edited according to the political ideology of the era.

According to the Chronicle of Novgorod, the united Russian forces crossed the Narva River and moved towards Rakvere but did not take the town. They looted the countryside and found a huge cave filled with Chuds (Estonians). Unable to attack the hiding Estonians for three days, the Russians finally devise a way to channel some water into the cave which forces the Estonians to flee and many of them are slain. Then the Russians advanced on Rakvere and met the German force at Kegola river. The Russian forces without delay crossed the river and organized their battle lines by placing the men from Pskov on the right, Dmitri's force on the right higher up, the remainder of the Novgorodian forces forming up in the center and on the right. The German iron troops are described as advancing in a great wedge. Then the chronicle lists a long string of names of boyars who were slain in the battle while knyaz Yuri fled. However the Germans are pushed back and pursued as far as the town. At that time another German wedge attacks the Russian transport but due to nightfall the Germans and the Russian main force do not engage each other. The two forces end up facing each other over a close distance but the Germans flee from the battlefield before the sun rises.

References

1268 in Europe
Battles involving the Novgorod Republic
Battles involving the Livonian Order
Battles involving Estonia
Battles in Estonia
Conflicts in 1268
Rakvere
13th century in Estonia

redpajama_set_name: RedPajamaWikipedia


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Pegasus spyware maker ends contract with UAE after UK high court's hacking ruling
By Hamzeh Noami
Updated 10:44 AM EDT, Thu October 7, 2021
File photo of Sheikh Mohammed bin Rashid al-Maktoum in Riyadh, Saudi Arabia on December 10, 2019.
Amr Nabil/AP
The Israeli manufacturer of Pegasus spyware said Thursday it had terminated its contract with the United Arab Emirates (UAE) in the wake of a ruling by England's high court that Dubai's ruler hacked his ex-wife's phone using the software.
Andrew McFarlane, the UK's most senior family court judge, said in his ruling on Wednesday that Sheikh Mohammed bin Rashid al-Maktoum used agents of Dubai and the UAE to hack into and monitor the phones of his ex-wife Princess Haya bint al-Hussein, her legal advisers, and staff, during an ongoing child custody battle concerning their two children using Pegasus software licensed to Dubai and the UAE by the NSO Group.
"Whenever a suspicion of a misuse arises, NSO investigates, NSO alerts, NSO terminates. NSO is proud to prove its commitment to protect human rights," the company's statement read.
"NSO did not hesitate to shut down systems of past customers, worth above $300M. As The Honorable Court recognized – NSO chooses ethical standards over revenues.
"The Court expressed its appreciation of NSO's cooperation which was given although NSO is not within the jurisdiction of the court."
The software used included the capacity to track the target's locations, listen to their telephone calls, access their contacts lists, passwords, calendars, and photographs, and read messages received through apps, emails, and SMS.
McFarlane said in his ruling the "the findings represent a total abuse of trust, and indeed an abuse of power."
"It is an abuse which has been compounded by the manner in which the father has contested these allegations and instructed his lawyers. Despite the weight of evidence, the fact of hacking was never conceded, nor was the fact that such hacking had been by Pegasus," McFarlane said.
"At no stage has the father offered any sign of concern for the mother, who is caring for their children, on the basis that her phones have been hacked and her security infiltrated. Instead, he has marshalled a formidable forensic team to challenge the findings sought by the mother and to fight the case against her on every point," he added.
The judgment was released Wednesday, following a year-long reporting restriction that was lifted by the Family Division of the UK High Court.
In a statement Wednesday, Sheikh Mohammed contested the judgment, saying it was based on "an incomplete picture."
"I have always denied the allegations made against me and I continue to do so. These matters concern supposed operations of State security. As a Head of Government involved in private family proceedings, it was not appropriate for me to provide evidence on such sensitive matters either personally or via my advisers in a foreign court. Neither the Emirate of Dubai nor the UAE are party to these proceedings, and they did not participate in the hearing. The findings are therefore inevitably based on an incomplete picture," his statement said.
"In addition, the findings were based on evidence that was not disclosed to me or my advisers. I therefore maintain that they were made in a manner which was unfair," it continued.
Dubai is one of seven emirates that make up the United Arab Emirates.
Because Sheikh Mohammed is the ruler of Dubai and the Vice-President and Prime Minister of the UAE, his lawyers argued that the Foreign Act of State (FAS) Doctrine – which prohibits a court from inquiring into the legality of acts made by a foreign state – undermined the UK High court's jurisdiction in this case.
In January, McFarlane and Justice Martin Chamberlain ruled that the FAS doctrine did not prevent the court from adjudicating Princess Haya's claims.
The findings are part of a series of ongoing hearings in London involving Princess Haya, and follow a ruling delivered in March 2020, which concluded Sheikh Mohammed had previously organized the abduction of two of his daughters and forcibly returned them to Dubai, where he held them against their will.
The Sheikh has repeatedly denied all claims raised in the ongoing case.


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For Zen Brubaker, little mattered as he cruised west at 100 mph on I-80 in a cream-colored '98 Corvette convertible with the top down. The summer sun blazed in a cloudless sky, and the hot breeze, magnified by the speed of the car, played havoc with the 33 year-old's long blond hair. At this moment, in this car, the myth of the road's freedom was the ultimate truth for Zen. It was as valid as the fact that the car in which he was racing west was stolen. He had stolen it just last night, when the idea to pick up and go had hit him hard.
The endless Great Plains highway, which ran straight to the horizon, reflected on the dark tinted lenses of his aviator sunglasses. Zen broke into a half-ass imitation of Mick Jagger on "Sympathy for the Devil". The thought came to him as he sang. It was an obvious thought, yet like so many things with him, he kept it buried deep. He had no idea why he had left Pittsburgh (at least at the moment he couldn't recall), but he knew where he was going. He was heading to Vacadale, California, the small town where he would find Tara. There she'd be in the same house where he had left her three years ago. Young Jeb would be there too.
Zen pressed his foot down harder on the accelerator pedal and pushed the speedometer past 115 mph. With the manic buzz of speed ringing his ears, he thought about plowing through the highway divider and smashing head-on into an on-coming car. The sound of twisting metal and the blazing image of exploding hellfire gave him a tingle in his groin. But it was too pretty a day to waste on dying.
As he drummed the steering wheel with both of his index fingers, he tried to remember why he had left Tara. He couldn't recall (another momentary mental block). Their love had been strong at the time, and he was certain that she would still feel the burn for him that he still felt for her, and that she would open her arms and her home to him. Jeb was another story. But he'd deal with the boy when he had to, and not now. Instead, he raced his new car, felt the sun's sting on his skin and licked the torrid breeze with his stuck-out tongue.
The highway sign ahead advertised a place to eat at the next exit. Zen was starving. He hadn't eaten since last night. He had sped into Kansas an hour ago, and Pittsburgh, to him, was a lifetime ago. With the old steel town, he had also left Kelly.
Twenty-four and drop-dead gorgeous, Kelly had healed him after Tara. He had met her at a bar weeks after he had arrived in the steel town. His Brad Pitt looks always had the right effect on the ladies; and Kelly with her sandy hair and freckles had wanted him within minutes after laying her emerald green eyes on him. Within hours, they were in bed, making enough noise to wake the neighbors. In a matter of days, they were living together, arguing enough to concern anyone within earshot.
Killing the 'vette's engine in the parking lot of the bullet-shaped diner, Zen left the car with the top down. He headed into the eatery; its neon lit name, Lawson's, blinking.
Inside, he took a swivel seat at the counter. The place smelled of burnt coffee, sizzling cooking grease and ammonia. A buxom waitress with a million-dollar smile greeted him with a steaming pot of coffee in her hand.
He motioned for her to pour him some.
"That your car?" She asked in a friendly voice, tinged with too many years in a very small town, as she poured the steaming brew into his cup.
"You bet," he replied.
"Must be nice."
"Heaven-sent, especially on a day like this."
"Giving out any free rides today?"
"Depends on how good your food is."
She smiled and said: "Then I've got no chance in hell."
They shared a laugh, and then he said: "A plate of scrambled eggs and bacon with white toast, please."
"Good manners, too," she said, walking off with his order.
Zen watched her ass bounce right to left, left to right with just enough jiggle to keep his eyes glued. She must have sensed his stare, because when she reached the cook's station, she glanced back at him and smiled.
He smiled back and then saw something reflected in the mirrored wall on the other side of the counter. A state police car pulled up next to his 'vette and parked. He looked over his shoulder and watched as the brawny, square-jawed trooper stepped out from the patrol car.
The man's knee-high boots gleamed in the sun; and he appeared transfixed by the 'vette, walking around it, studying it, and finally glancing down at the license plate. Then he turned away and entered the diner, waving at the waitress and saying: "Hey, Gwen."
"Hi, Taylor," she answered. "The usual?"
"Old habits die hard," he said.
Both laughed, and Zen listened, thinking the joke was lame. He played with his coffee spoon and noticed that the cop took a stool two seats away from him. The trooper looked at him and smiled. "Your car?"
Zen thought about lying, but he realized that he and the trooper were the only two eating in the place. He nodded.
"Always wanted one myself, but I can't afford it. Three kids, a fourth on the way, a home, well, you get the picture."
"Two jobs, no kids is how I do it," Zen lied.
"I'll bet."
Gwen returned with Zen's toast, eggs and bacon and said, "Hey, I'm trying to wrangle a free ride out of this guy." Then she placed his food on the counter before him.
Taylor looked at Zen. "Bet a lot of ladies hit on you for a ride in that car?"
"I get my share of requests."
Gwen placed a cup of coffee in front of the trooper, and he took a sip from it. "Where you from?" Taylor asked in a friendly tone and then took another sip.
"New York," Zen said through a piece of bacon he was chewing.
"Boy, you've been on the road a long time." Gwen chimed in.
"Less than a day," Zen said, realizing his mistake too late as it took more than a day and a half to drive this distance. He wanted to leap off his stool, grab the man's gun and put a bullet between the eyes. But then he'd have to kill Gwen, and he didn't want to do that.
"Whew," Taylor said. "You must've been burning rubber to go from there to here so fast."
"Yeah," Zen chuckled as if to bury his mistake, his rage, in laughter. "You won't hit me with a ticket, or throw me in jail."
Taylor smiled. Then he grew silent.
Gwen placed a plate before the trooper. On it was a slab of meatloaf and lumpy mashed potatoes, drowning in gravy.
Something clicked inside Zen's brain. It was what he had felt every time he needed to move on. Maybe it was fear. Maybe it was a need for survival. Whatever it was, Zen shoveled some more eggs into his mouth and gulped them down. Then he finished his coffee and wiped his mouth with a paper napkin. Looking up, he said to Gwen: "How much?"
Gwen faced him. "A fast drive in your car."
"How fast?"
"Real fast," she purred through her parted lips.
He smiled. "It'll have to be on my way back, sweets."
She raised her eyebrows. "Three bucks then, babe."
He plunked down a Lincoln on the counter top and said: "Enjoy the day."
"Good trip," Gwen said, retrieving the money.
"Likewise," Taylor said.
Zen walked out of the place, unaware that two hard eyes were fixed on his back. He got into the 'vette, ignited the engine and drove out of the parking lot. In a minute, he was back on I-80 heading west to Tara, but thinking about the trooper. "No way he could've known about the car," he mumbled. Somehow these words allayed his fears for the time, and soon he was imitating Bob Dylan on "Highway 61."
The sun had dropped in the afternoon sky, and the glare had increased. Zen squinted through his aviator shades to see the road ahead, which was cast in a bright heavenly white light. He half-expected to see Jesus appear on the shoulder of the interstate, hitching. He chuckled to himself, and then his thoughts returned to Tara and Jeb. He still remembered the sadness in her blue eyes, the desperate pleas and the endless tears on the day he had left.
She had grabbed his arm and had tried to stop him but he'd had none of that. After he had silenced her, he had slammed the door on the way out. Jeb's pitiful screams had filled his ears, only to be drowned out by the pick-up truck's engine.
He tightened his grip on the 'vette's steering wheel, knowing that he owed them both a big apology. He would give them that. Another thought crossed his mind. He should call before he got there. He mulled it over for some time. Then he shook his head, as he wanted to surprise them and give them no chance to deny him the reconciliation he so badly wanted.
What he saw in the rearview mirror brought a quick end to his thoughts. The state trooper's car (he assumed it was Taylor's) was about fifty yards behind him. When the car's siren and lights started, Zen believed his gig was up. But the thought of Tara, and the knowledge that he was driving a 'vette, blinded his reason. He stomped the gas pedal as if it was a big, ugly roach.
The 'vette raced off, and the trooper's car followed in pursuit.
The chase sparked a primal thrill in Zen, who felt like a NASCAR racer. His Daytona was the interstate. He avoided other cars at the last split second, changing lanes on a dime, using the narrow shoulder road when no other lane appeared clear before him. In the rearview, he watched Taylor match him move for move, which made his heart race faster with excitement. He thanked the 'vette's owner, whom he had only known for a heartbeat, on taking such good care of the car. "Catch me if you can, copper," he shouted in his best James Cagney imitation, and he hit the gas pedal even harder. Could he drive this car any faster, he wondered. The speedometer answered by topping 125mph. The acceleration made him feel higher still. It was how Tara made him feel in bed.
He had been on top of her, feeling euphoric. Every nerve in his body had been on high alert. She had only to look in his eyes, or run a finger on his glistening skin and he would explode like a billion firecrackers on the Fourth of July. When she finally dug her nails into his shoulders, he screamed with all the fury that his vocal chords would allow, knowing full well that Jeb was awake in the next room, smothering out the screams of pleasure with a pillow wrapped around both his ears.
Suddenly, a pair of terrified eyes fogged this memory. They weren't his. They belonged to someone else. He quickly shut them out, feeling the cold wetness in his pants. Before him, the traffic on I-80 was slowing down. He swerved hard, causing his tires to screech. The sweet smell of burning rubber filled his nose. Up ahead, he saw the wall of state patrol cars. A feeling of invincibility filled his V-8 heart. In his rearview, he still saw Taylor. A harrowing scream echoed through his stainless steel soul, and then he shouted to the cloudless sky: "Tara!" And he spun out and crashed the 'vette through the guardrail, bouncing down a small embankment onto a country road.
On the highway, troopers scurried back to their cars, and sped off to pursue Zen.
Taylor followed Zen down the embankment and onto the country road.
With sirens ringing Zen's ears, he turned off the country road and onto a dirt road that cut a cornfield in two, sending a billowing, blinding wall of dust into the dry air. He banged on the steering column in glee, seeing Taylor's car get swallowed up by the mini-dust storm and disappear thirty yards behind him. It was only moments before the dust cloud engulfed the 'vette, and Zen was also blinded. When one would have experienced fear, Zen felt even more exhilaration. He let loose a scream of pure pleasure, and then he went flying through the car's windshield upon crashing into something very solid.
As he flew through the dusty air, he heard Amy's muffled screams as he had strangled the young woman in her 'vette last night. Then he saw Kelly's terrified face moments after he had stabbed her repeatedly the same night. A rapid succession of nameless frightened faces followed. Then he remembered something that he had buried deep in his subconscious, along with all of the grizzly truth: that Tara would never take him back. Not now. Not ever.
As Zen hit the ground hard, he saw Tara's bloodied body after he'd beaten her lifeless the night he'd left. Near her corpse, he saw Jeb's battered and lifeless body after he had returned from the truck and silenced the boy's screams by stomping him. Then everything in his world stopped cold.
Taylor and the other troopers gathered around Zen's broken body. He crouched down in a squat position and studied the dead man with the movie star looks. He noticed a tear rolling down his cheek. Then he looked up at the totaled 'vette and the wrecked tractor that had been parked on the dirt road. He gazed at the other troopers and said: "Finally we got the bastard."
They stared at him without saying a word.
Taylor stood up and walked a few yards, stopped and stared into the setting sun. He lit a cigarette and walked over to the wrecked Corvette, knowing that he had been instrumental in taking down the nation's worst serial killer in decades. Then he studied the car's extensive damage and mumbled to himself: "What a waste."
He paused and then added: "Of a great car."


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In Blake for spring 1977 it was hinted that two further developments were imminent in the rediscovery of James Jefferys.1↤ 1 Martin Butlin, "The Rediscovery of an Artist: James Jeffreys 1751-1784" in Blake Newsletter 40 (Spring 1977), pp. 123-24, two drawings repr. Both have now appeared in the April 1977 issue of The Burlington Magazine. The first article, by John Sunderland, reports the discovery by Timothy Clifford at the close of the Jefferys exhibition that the drawing formerly accepted as a self-portrait from behind by John Hamilton Mortimer in fact shows a figure holding a drawing by Jefferys included in the exhibition.2↤ 2 John Sunderland, "Two Self-Portraits by James Jefferys?" in Burlington Magazine, 119 (April 1977), 279-80, the two drawings repr. p. 281, figs. 76 and 77. It was also clear that the drawing was inscribed in Jefferys' hand, including the address "To Mr. Benchley," Jefferys' early patron at Maidstone. The conclusion is that both this drawing, now in the Mellon Collection at Yale, and the companion self-portrait seen from the front, in the National Portrait Gallery, London, are by Jefferys. It is interesting that Sunderland had already suspected that other so-called Mortimers from the same source as these two drawings were not by him; one can now look for a strongly Mortimeresque phase in the development of Jefferys' very eclectic style.
This may be still more eclectic than has been supposed. The other article was by Nancy L. Pressly, identifying Jefferys with the mysterious "Master of the Giants."3↤ 3 Nancy L. Pressly, "James Jefferys and the 'Master of the Giants,'" ibid., pp. 280-84, drawings by Jefferys, including some formerly attributed to the Master of the Giants, repr. pp. 282 and 285, figs. 80-86. Various attributions to such artists as Prince Hoare have proved untenable and, although Mrs. Pressly's identification has not yet been whole-heartedly accepted in all quarters, it seems convincing to me. The sketchy treatment of the background figures of the "Master of the Giants" drawings, perhaps more than the more consciously finished foreground figures, seems particularly close to Jefferys' style; a distinctive manner of drawing kneecaps is a characteristic feature of both groups of drawings! It is good news that Mrs. begin page 299 | ↑ back to top Pressly is continuing her study of the activity at Rome in the 1770s of such artists as Fuseli, Sergel, Alexander Runciman, John Brown, Romney and Mauritius Lowe: the teribilità, forceful rather than accomplished, of much of Blake's work in the 1780s seems to owe as much to these artists' revival of Mannerism as it does to the more orthodox tenets of Neo-Classicism.
MARTIN BUTLIN, KEEPER OF THE BRITISH COLLECTION, TATE GALLERY, LONDON.
James Jefferys, "Fallen Warrior lying against a Dead Horse." Pen and grey wash over pencil 19-¾ × 30-¼ (50.1 × 76.8) Maidstone Museum and Art Gallery.


text:
Q: Extension bundle meaning in OSGi framework I'm developing an OSGi based application. While documenting myself on the features of the OSGi framework I stumbled on the extension bundle concept. Citing the R4 specification (OSGi R4):

Extension bundles can deliver optional parts of the Framework
  implementation or provide functionality that must reside on the boot
  class path. These packages cannot be provided by the normal
  import/export mechanisms. Boot class path extensions are necessary
  because certain package implementations assume that they are on the
  boot class path or are required to be available to all clients. An
  example of a boot class path extension is an implementation of
  java.sql such as JSR 169

Probably it's just me being stupid, but I'm having difficulties on understanding the concept. I have several questions:

*

*From what I understood it seems that extension bundles are doing the same work of org.osgi.framework.system.packages.extra and org.osgi.framework.bootdelegation(i.e. com.sun.* or sun.*). Am I right? If not, what are the differences between them?

*Can you show me a real use case scenario for extension bundles? Something that says: "you can't do it unless you use extension bundles!" Here someone already tried to provide an example for extension bundles but (at least for me) it seems one can achieve the same result by tweaking org.osgi.framework.system.packages.extra and org.osgi.framework.bootdelegation;
I know there is already this SO answer but to me it didn't fully hit the point.
Thanks for all kind replies!

A: extension bundles can be used to override any class, even java.lang classes.
You might want to trace when System.gc() is called for example (e.g. write a stack trace to a log file)

redpajama_set_name: RedPajamaStackExchange


I have been fascinated by the Tarot for over 30 years. For me, the cards told a story within a reading that I've returned to time and again. As an artist, I have always wanted to do my own version of the cards. Taking inspiration from traditional tarot decks, I wanted to expand and illuminate with my art more of an understanding of each card.
For years I have been an illustrator in the comics market drawing for all the major companies from Marvel and DC comics to Dark Horse and IDW. I've created my own characters and Joe Boy books and drawn for national companies including Bud Light and Randomhouse. I feel I have reached a level where my skills as an artist and insight on the cards have brought me to this project I call the Divine Diversity Deck.
The initial deck of the Divine Diversity measures 4x6 inches and comes in a custom box, the deluxe pledges come in a special custom printed tin. they are printed on satin finished card for minimum glare and comfortable hand feel. I chose the large size to better allow the art to"Breath". I wanted the images to be viewed by the reader and seeker with nothing to obscure the meanings.
Many decks with beautiful art sometimes have very little to do with the meanings behind each card, that has lead me on a path to make my deck focus on the human aspect of the seeker or reader. the images are filled with symbology and allegory to aid in better understanding of each card.
A unique feature of the Divine Diversity deck is I've included alternate images of both the Lovers and the Devil card to better address the sexuality and Identity of the seeker. Many times I have noticed the monoculture of many decks and wanted to make my images inclusive of different ethnicities and gender.
Another aspect of supporting this deck is you will have the opportunity to contribute creatively on choosing the back of the card art. I will share with the patrons my design an have a vote on picking the final design.
If we meet our production cost I hope to offer stretch goals. I would like to create a full-color book and expanded reading guide, coloring books, and Major arcana calendar for 2019.
With regular updates I will share with you behind the scene images and production photos to view the process.
I hope you find a personal connection with this deck and it brings you and your clients many years of enjoyment.
The risks are minimal, having done a successful Kickstarter before with my Joe Boy book project. I can anticipate and handle the various hidden points of production. Working with a great graphic and production assistant with 20 years extended production experience in trouble shooting and prepress will allow us to bring the project in on time and on budget. Our production will be handled by Shuffled Ink. That has a reputation for quality work and a resume of hundreds of decks.
I'm still working on the art for the poster and box art which will be finished soon and will share the art on Kickstarter.


This super sweet soft enamel pin is 1" in size. This "White Fluffy Cat" is by artist Michael Banks (Sugar Fueled) and comes with a locking back featured in picture number #2, so you won't have to worry about it falling off your favorite jacket, bag, shirt..etc. Free shipping within the continental United States, Canada and International shipping listed below. Payment required within three days. Please take a minute to look through my store for other original oil paintings, prints, small prints, mini prints, canvas giclees. comics, shirts, book, enamel pins, buttons, toys, necklaces and stickers.


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I am thrilled to be working as a full time missionary at Breanna's House of Joy. This is a home that has been rescuing young girls who have lost both or one of their parents and were at risk of human trafficking. The home has been a haven to disadvantaged girls for over 10 years. My ministry is to help the girls grow in grace and in the knowledge of The Lord Jesus Christ. Along the way, I also help them to be able to read, write and speak English. It is a joy to share my life in Christ with them. With God's leading, we will see some of these girls as matured women of God, returning to their villages to proclaim Jesus!!


text:
import React from 'react';
import PropTypes from 'prop-types';
import styled from 'styled-components';
import Portal from 'react-overlays/lib/Portal';
import Transition from 'react-motion-ui-pack';
import ClickOutside from 'react-overlay-pack/lib/ClickOutside';
import emptyFunction from '../utils/emptyFunction';

export const Overlay = styled.div`
  position: fixed;
  top: 0;
  bottom: 0;
  left: 0;
  right: 0;
  background-color: rgba(0, 0, 0, 0.3);
  display: flex;
  align-items: center;
  flex-direction: column;
  overflow: auto;
`;

const Dialog = ({ onHide, show, children, ...otherProps }) =>
  show && (
    <Portal>
      <Transition
        component={false}
        enter={{ opacity: 1 }}
        leave={{ opacity: 0.5 }}
      >
        <Overlay key="dialog" {...otherProps}>
          <ClickOutside onClick={onHide}>{children}</ClickOutside>
        </Overlay>
      </Transition>
    </Portal>
  );

Dialog.propTypes = {
  children: PropTypes.node.isRequired,
  show: PropTypes.bool.isRequired,
  onHide: PropTypes.func,
};
Dialog.defaultProps = {
  onHide: emptyFunction,
};

export default Dialog;

redpajama_set_name: RedPajamaGithub


text:
Nominations Close in the District of Carbonear – Trinity – Bay de Verde and St. George's - Humber.
Mr. Frank Butt will represent the district of Carbonear -Trinity -Bay De Verde.
Nominations Close in Burin – Grand Bank
The Provincial Executive of the Progressive Conservative Party of Newfoundland and Labrador is pleased to announce that after the close of nominations Friday, Mr. Frank Butt will represent the district of Carbonear -Trinity -Bay De Verde.
In the district of St. George's – Humber, we are pleased to announce today that two nominees are seeking to become the Progressive Conservative candidate in the upcoming general election in the District: Mr. Gary Bishop and Mr. Tom O'Brien. Those wishing to participate in the upcoming nomination vote must live in the district of St. George's Humber and be members or supporters in good standing of the Progressive Conservative Party of Newfoundland and Labrador.
Individuals can sign up at www.pcnl.ca. Details of the upcoming nomination vote will be released in the coming days.
Eugene Manning
President, PC Party of Newfoundland and Labrador
info@pcpartynl.ca


text:
«Бе́рег уто́пии» () — пьеса современного английского драматурга и сценариста Тома Стоппарда, написанная им в 2002 году. В этой драматической трилогии рассказывается о России XIX века, в ней действует множество персонажей, как русской, так и зарубежной истории: Александр Герцен, Пётр Чаадаев, Иван Тургенев, Виссарион Белинский, Михаил Бакунин, Николай Огарёв, Николай Станкевич, Николай Чернышевский, Тимофей Грановский, Иван Аксаков, Георг Гервег, Карл Маркс и многие другие.

Сюжет
Стоппард рассматривает период, когда общественная волна просветительства впервые перешагнула границы России, а российская эмиграция обрела свой голос. Трилогия включает три части: «Путешествие», «Кораблекрушение» и «Спасение» (иногда последнюю часть называют «Выброшенные на берег»). История начинается в 1833 году в селе Прямухино, родовом поместье Михаила Бакунина. Перед нами — семья Бакунина, а также Белинский, Бакунин, Станкевич и Иван Тургенев: молодые люди, добрые друзья, увлечённые идеями немецких философов-идеалистов. Во второй части («Кораблекрушение») главными героями являются Герцен, умирающий от чахотки Белинский, Николай Огарёв, Бакунин. Бакунин, уже анархист, Герцен и Тургенев становятся очевидцами французской революции 1848 года. Надежды на свободу сменяются разочарованием. И, наконец, третья часть: Лондон, где встречаются после краха европейских революций эмигранты разных мастей. Герцен, Огарев и его жена Наталья составляют любовный треугольник. Бакунин возвращается из ссылки. Стоппард говорит, что «решил довольно точно придерживаться истории и только дважды нарушил это правило. Например, когда Герцен был в Англии, Бакунин сидел в тюрьме, но для пьесы было нужно, чтобы в споре он высказал свою точку зрения. И он как бы является Герцену во сне».

Темы и идеи
Одна из центральных тем трилогии — свобода. Герцен говорит, что он разгадал секрет свободы: «Свобода — это то, что люди дают друг другу, а не то, что забирают друг у друга». Свобода — это добровольный жест, это обуздание себя. Стоппард поясняет это так:

Нельзя сказать, что свобода — это моё право играть на трубе посреди ночи. Если ты ставишь себя на место другого, то уже являешься свободным человеком в том понимании, которое мне близко. Позволять себе давать свободу тем, с кем ты рядом, — это и есть свобода.

Что касается названия пьесы, то автор оставляет открытым вопрос о том, возможна ли реализация утопии, но считает, что надо к ней стремиться. Особенно большое внимание Стоппард уделяет семье, потому что семья — это «наша личная империя», и она «в нашей власти», значит, надо пытаться реализовать утопию хотя бы в семье. Герцен в итоге понимает, что гармоничное общество должно существовать по тем же законам, что и счастливая семья, это должно быть «соревнованием в благородстве», тем более, что в семье уже есть идеальная модель человеческого поведения — отношения между детьми и родителями. Драматург поясняет это так: «Ты инстинктивно чем-то жертвуешь ради своего ребёнка. Но мы не готовы ничем жертвовать ради соседа».

Для Стоппарда очень важен человеческий элемент: «Пьесы пишутся о людях, об отношениях, о том, как люди влюбляются, взрослеют, женятся, умирают, бросают жён или мужей, возвращаются к ним… Пьесы не пишутся об идеях. Меня влекли характеры». Драматург рассказывает, что сначала его интересовала только нравственная тематика, но «когда вы начинаете читать Бакунина, Тургенева, Герцена, Белинского, вас неизбежно начинает интересовать Россия. Мне кажется, история нации, страны может быть так же интересна и пронзительна, как история одного человека». Герцен, Бакунин, Огарёв, Тургенев показаны очень реалистично, как живые люди, со своими слабостями и проблемами. Стоппард нарушает наши привычные представления о них.

Постановки

Лондон
Репетиции трилогии начались в Национальном театре Великобритании весной 2002 года. Режиссёр Тревор Нанн признавался, что это самый масштабный проект в его карьере: 30 актёров, 70 персонажей, более 40 локаций, 169 перемен костюмов. Декорации включали в себя семь телевизионных панелей 6,5 м в длину и 9,5 метров в ширину, вместе они формировали огромный экран, на который проецировались изображения кораблей, океанских волн, усадьбы, катка, что позволяло зрителям полностью погружаться в атмосферу действия.

Премьера Путешествия состоялась 27 июня 2002 года, 2 августа прошёл первый пресс-показ всей трилогии целиком. Критики отмечали, что режиссура Нанна полностью отвечает задумке Тома Стоппарда, хотя сцены из Кораблекрушения некоторым по духу напомнили баррикады из Отверженных, которых Нанн ставил 17 годами ранее. Три части спектакля можно было увидеть по отдельности по будням, а по субботам в Оливье-театре показывали все три спектакля подряд с чуть более чем часовым перерывом между частями.

Бродвей
Нью-Йоркская премьера прошла в театре Вивьен Бомон в ноябре 2006 года в постановке опытного бродвейского режиссёра Джека О'Брайна. Постановка получила в целом положительные отзывы и была номинирована на 10 премий Тони, из которых выиграла 7, в том числе за лучшую новую пьесу.

В России
Работа над постановкой трилогии «Берег утопии» в Российском государственном академическом молодёжном театре началась в 2005 году. Премьера спектакля первоначально планировалась на сентябрь 2007 года, состоялась 6 октября 2007 года. На пресс-конференции драматург добавил, что когда он писал эту драму, то представлял себе, как она может прозвучать в России на русском языке:

Меня никогда особенно не интересовало, где будут поставлены мои пьесы. «Берег утопии» — исключение. Я работал над трилогией четыре года. И с первого же дня часто давал волю мечтам о том, как увижу её в России… Эта трилогия — своего рода послание в Россию.

Продолжительность спектакля на русской сцене — всех трёх его частей составляет, включая перерывы, более 10 часов (в РАМТ эта пьеса идёт с 12 часов дня до 22 часов вечера).

7 августа 2010 года спектакль был показан по российскому телеканалу «Культура».

См. также
 2002 год в литературе

Примечания

Ссылки
 Официальный русский сайт
 Официальный английский сайт пьесы

Пьесы Великобритании
Пьесы на английском языке
Пьесы XXI века
Пьесы Тома Стоппарда
Пьесы 2002 года
Пьесы — лауреаты премии «Тони»
Спектакли 2002 года
Пьесы, поставленные на Бродвее
Пьесы — лауреаты премии «Драма Деск»


I will be doing the 24 Hour Plays tomorrow. Wish me luck; it's sort of an Iron Man for writers. Shows will be Monday 18 September at 7 and 9 pm at Writers & Books.
I was pleased to learn that my 10-minute play, "Ask Not for Whom the Post is Liked" received a Judges Third Place this week in the Sydney Short & Sweet Festival. Wish I coulda been there.
Many years ago, I had the pleasure of attending the Edinburgh Fringe Festival a few times while it was just starting to get big. Nice deal: we have our own Fringe Festival in Rochester now. Hopefully it will grow also.
Tonight I saw Greg Kotis's "All Your Questions Answered" at Geva. A crazy fourth-wall-demolished delight.
Tomorrow (September 22), I get locked into a room to write a play overnight, that will then be performed that evening (September 23). That is, I'll be one of the playwright victims of The 24 Hour Plays. So if you live nearby and are out and about Monday night, come see what I and other playwrights managed to create while sleep deprived. It'll be at W&B at 7:00 p.m. Tickets available at the door or online.
Writers & Books is doing a reading of one of my plays — a new work, called NO CITY NEW YORK — this Saturday June 15. It's a fundraiser, so the money goes to the good cause of supporting WAB and therefore literature (so I feel guilt-free plugging it here). The cast is fantastic, also. You can read more at W&B's website.


text:
The Blue Veil is a 1951 American historical drama film directed by Curtis Bernhardt and starring Jane Wyman, Charles Laughton and Joan Blondell. It tells the story of a woman who spends her life caring for other people's children, beginning just after World War I. The title refers to the headdresses once worn by governesses and nannies, colored blue to distinguish them from the white veils worn by medical nurses. The screenplay by Norman Corwin is based on a story by François Campaux, adapted for the French-language film Le Voile Bleu in 1942.

Plot
Following the death of her newborn baby, war widow LouLou Mason accepts a temporary two-week assignment as nursemaid to the infant son of corset manufacturer Frederick K. Begley, who lost his wife in childbirth. She ingratiates herself with the family and eventually becomes a permanent fixture. When she declines Frederick's proposal, he marries his secretary Alicia Torgersen, who fires LouLou following her honeymoon.

LouLou finds employment with wealthy Henry and Fleur Palfrey and begins to care for baby Robbie. Older son Harrison is expelled from boarding school due to poor grades and bad behavior and returns home with his tutor, Jerry Kean. When Jerry is offered a job in Beirut, he impulsively proposes to LouLou, who accepts. While waiting for his fiancée to pack, Jerry speaks to Fleur, who warns him about marrying a woman he barely knows. Having second thoughts, he suggests he and LouLou wait a few months before marrying, and she remains with the Palfreys.

Years pass, and LouLou is nursemaid to Stephanie, the twelve-year-old daughter of fading musical actress Annie Rawlins. When Annie is delayed at an audition and misses Stephanie's confirmation, the girl tells her friends LouLou is her mother. Realizing the girl has become too attached to her, Loulou decides to find work elsewhere.

Just prior to the start of World War II, LouLou accepts a job with Helen and Hugh Williams. Hugh joins the military and is injured in battle, prompting his wife to join him in England. Two years pass, and the widowed Helen, who still has not returned home, stops sending money to support her son Tony. LouLou accepts responsibility for the boy and raises him as her own. Years later, when Helen notifies her she is returning with her new husband, LouLou flees to Florida with Tony, but is arrested and charged with kidnapping. Although he is sympathetic to LouLou's situation, the district attorney is compelled by law to return Tony to Helen.

Now too old to be entrusted with the care of a baby, LouLou accepts a janitorial job in an elementary school in order to be close to children. When she visits an ophthalmologist, she discovers he is Robbie Palfrey, the now adult son of her former employers. Robbie invites her to his home for dinner the following week and arranges for all the children for whom she cared to be there with their spouses. As LouLou catches up with her former charges, Robbie announces he wants her to be the nanny for his own children.

Cast

Critical reception
Bosley Crowther of the New York Times called the film "a whoppingly banal tear-jerker [that] will lure multitudes of moviegoers who like nothing better than a good cry." He added, "Mr. Corwin's scenario, under Curtis Bernhardt's soupy direction, stretches Miss Wyman's situation...into a series of parchedly sunlit episodes, contrived to squeeze the heart and present this lady as a quivering-lipped saint. There is little in the way of wit, grit or, for that matter, real substance...Miss Wyman..has little to do herself except to age daintily. She exercises reasonable restraint but persevering sweetness with an iron halo in a grating two-hour gamut. And since Miss Wyman, like the rest of The Blue Veil, is so far removed from flesh and blood, we can only leave her and it to heaven."

Variety noted "Curtis Bernhardt's direction handles the drama surely, if at times a bit measured, and never strives for dramatic tricks beyond the level of the simple, warm story being told."

Awards and nominations

Box office
The film earned $2.2 million in rentals in the U.S. and Canada during 1951 and total rentals of $3,550,000, making a profit of $450,000.

In May 1952 it was reported the film had returned net earnings to Wald and Krasna of $800,000.

Radio adaptation
The Blue Veil was presented on Lux Radio Theatre November 24, 1952. The one-hour adaptation starred Wyman in her screen role.

References

External links

The Blue Veil at TV Guide (1987 review originally was published in The Motion Picture Guide)

1951 films
American historical drama films
American remakes of French films
Films scored by Franz Waxman
Films featuring a Best Drama Actress Golden Globe-winning performance
Films directed by Curtis Bernhardt
RKO Pictures films
1950s historical drama films
American black-and-white films
1950s English-language films
1950s American films


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