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__label__cc	0.721285	0.278715	A Book and a Chat with Terri Giuliano Long Terri Giuliano Long teacher and author is my guest on today’s “A Book and a Chat” joins me for another interesting and entertaining thirty minutes of radio. At high school she planned career more in the visual art side of her creative instincts having always been writing and drawing little stories up to that time, however after taking an advanced writing course; she realized that was what she wanted to do and began writing for the school paper. As they say ”from little acorns might oaks are made” and she later brazenly walked into office of her town paper and asked the editor for a job. At first, she covered sports and other high school news; soon, though she was given her own column. She was just sixteen. That column was her first paid writing job, and she knew then that the only job she’d ever want would be that of writer. She later wrote a series of articles in which mothers chatted candidly about their heartbreaking struggles about their drug and alcohol-addicted teens. From these articles and with her own experiences as a parent who knew how it felt to be worried about your children’s welfare and future, her debut book “In Leah’s Wake” was born. About “In Leah’s Wake”: The Tyler family had the perfect life - until sixteen-year-old Leah decided she didn't want to be perfect anymore. While her parents fight to save their daughter from destroying her brilliant future, Leah's younger sister, Justine, must cope with the damage her out-of-control sibling leaves in her wake. What happens when love just isn't enough? This mesmerizing debut novel tells the tale of a contemporary American family caught in the throes of adolescent rebellion - a heartbreaking, funny, ultimately redemptive quest for love, independence, connection and grace. Many people agree with the above comments as “In Leah’s Wake” as it has already won awards as a pick for 2011. It's hard to believe this book was the author's debut novel. The characters and storyline kept you riveted to the book and you didn't want to put it down. Very true to life story that anyone who is raising or raised teenagers could definitely relate to and see themselves, as parents, in almost the same type of situations. I enjoyed reading about the family dynamics and how each individual's actions affect everyone in the family. Very good read! Great job Terri! With a second “family” book already underway, we’ll hear more of Terri Giuliano Long – Author. So listen now and share an interesting and entertaining show as I spend thirty minutes sharing "A Book and a Chat with Terri Giuliano Long "Terri Giuliano Long" "Terri Giuliano Long - In Leah's Wake" Labels: A Book and a Chat, Award winning, family, In Leah's Wake, parents, teenage coming of age, Terri Giuliano Long A Book and a Chat with Dave Moore A Book and a Chat with Veronica Blade A Book and a Chat with David J. Friedman A Book and a Chat with Deborah Winter-Blood A Book and a Chat with Roxanne Bok The 400th "A Book and a Chat" with Cheryl Malandrinos A Book and a Chat with Nancy Stewart A Book and a Chat with Barbara Kyle A Book and a Chat with Laura Lee A Book and a Chat with Karen Simpson A Book and a Chat with Lilian Duval	cc/2023-06/en_middle_0075.json.gz/line1
__label__wiki	0.560479	0.560479	Book Reviews, Commercial FIction Reviews A review of Love is a Rebellious Bird by Elayne Klasson Reviewed by Ruth Latta Love is a Rebellious Bird by Elayne Klasson She Writes Press 2019, 978-1-63152-604-6, US $16.95 The title of Elayne Klasson’s engaging debut novel comes from the opera, Carmen. Carmen sings that “Love is a rebellious bird that nobody can tame, and you can call him quite in vain if it suits him not to come. Love stays away…when least expected, there it is.” These lyrics sum up the relationship between Judith and Elliot, co-protagonists in this chronicle of the bond between them, which endures for over half a century. Judith’s witty, perceptive voice immediately attracts the reader to this novel, which is presented in the second person, addressed to Elliot. Their story begins in the 1950s in a Chicago elementary school, where Judith, a new student, is appalled by a shocking act of cruelty by a teacher. Another fifth-grader, a handsome boy, comes in late from recess with his pant-leg torn and his leg bleeding, after a playground fight with another boy. The teacher tells Elliot that it is no wonder that his mother has landed in a mental hospital again, and that he would make anyone go crazy. As the boy flees the classroom, Judith’s heart goes out to him, and she falls in love with him. For a year she loves him from afar. Then, in sixth grade, when boyfriend-girlfriend relationships are budding, she beats him in a reading competition and he notices her. He congratulates her, nicknames her “Rocket” because of her reading speed, and walks her home. “For the rest of our lives,” Judith says, “our relationship was a cocktail mix of rivalry and loyalty, shaken with a strong dose of passion and resentment.” A few years later when Elliot runs for the presidency of a youth organization, Judith volunteers as his campaign manager and spends some time at his home. His mother, though fragile, is warm and approving of Judith at a time when Judith’s mother is critical of her. While Elliot appreciates Judith’s help, it doesn’t make him love her. Later, when they are summer camp counsellors together, he cuts short his woodland trysts with her because he is primarily interested in impressing the administration. When Elliot’s mother commits suicide, he needs to talk his way through his pain, and Judith happily becomes his listening ear. Alone together for hours in his room, they eventually act on their urges, but are interrupted at a critical juncture, when Elliot’s father brings in his clean laundry! Several other similar humorous incidents occur, as if Fate doesn’t want them to go all the way. After high school, when Elliot goes to university in Rhode Island and Judith, for financial reasons, goes to university in Illinois, he changes their relationship from would-be lovers to friends, much to Judith’s disappointment. His letters are friendly and newsy, but not love letters. In the summer, an opportunity for intimacy is lost when he gives her LSD and she has a bad trip. Why do we chose those who don’t love us back with the same intensity? Why can we not love those who are best for us? These are the central questions of Love is a Rebellious Bird. The author drops a few hints as to why Judith persists in this unequal love. An only child, she may be looking for the deep emotional connection that a sibling can provide. Her solitary situation may make her inclined to love those who are alone and vulnerable, as Elliot was in that fifth grade classroom. Also, since her father is the parent to whom she is closest, she may be hoping to find in a male her own age a similar understanding and appreciation of her essential self. Judith’s caring nature, revealed in that fifth grade classroom, along with her experience in comforting Elliot, probably led to her social work career. When they reach their twenties, Elliot is no longer the adventurous one, and less in control of their relationship. Judith meets Seth and goes backpacking with him in Europe and Asia, while Elliot is studying law. When she and Seth return to American via New York to visit friends, she contacts Elliot. For once she has plenty of experiences to recount, while Elliot is bogged down, studying for the bar exam and unhappy in his recent marriage. In his apartment, when she finds that he has invited her over on the night his wife works late, she’s offended, and leaves early. Their paths further diverge when Judith and Seth move to California. Busy with twins and an unfaithful husband, Judith thinks about Elliot, and is always hoping for one of his infrequent letters, always handwritten in blue ink. Seth forgets anniversaries but Elliot always sends a present on her birthday, which is February 14th. Klasson’s novel has plenty of dramatic tension. Every time Judith and Elliot seem about to have a future as a couple, they are frustrated in yet another original way. A window of opportunity opens when a legal case requires Elliot, now divorced, to visit California every six weeks or so. Judith, a divorced busy single parent and social worker, lives for these “mini-honeymoons”. On one such visit, Elliot tells her he loves her. Unfortunately, he has been having casual sex with his paralegal, a single mother who is has just learned she has cancer. Elliot decides that marrying her is the decent thing to do, so again, Judith becomes merely the supportive friend. Although both remarry and lose a spouse to cancer, the connection between Elliot and Judith continues, though eventually their reunions become group gatherings that disappoint her. We keep reading because the details of their separate lives are interesting and often funny, and because the author constantly surprises us. In the last quarter of the novel, we are astonished when Judith, who is only seventy-one and in good physical and mental health, moves from her beautiful Oakland home to a retirement community. Her reasons soon unfold. But does this choice demonstrate that even in old age she can’t quit giving more than she gets? Readers in the same age range as Judith will understand her decision. Judith recognizes that human connections that last a lifetime through are rare and precious. Even though they may be imperfect, they reinforce our sense of identity. Also, as one ages, one is less and less able to help others. By taking the initiative and making a difference in another person’s life, Judith affirms and continues her life’s work of caring. It is hard to believe that Love is a Rebellious Bird is Elayne Klasson’s first novel. I hope for a second, a third, and more. About the reviewer: In her recent novels, Grace in Love (2018) and Votes, Love and War (2019), Ruth Latta explores the quest for a soulmate and the pain of love in wartime. For more information, visit http://ruthlatta.blogspot.com Tags: fiction ← An interview with C.B. Anderson New Giveaway! →	cc/2023-06/en_middle_0075.json.gz/line8
__label__cc	0.725382	0.274618	Book Reviews, Memoir, Non fiction reviews A review of Angle of Flickering Light by Gina Troisi Reviewed by Kate Brandt Angle of Flickering Light by Gina Troisi Vine Leaves Press April 2021, Paperback, 228 pages, ISBN-13: 978-1925965483 Try reading the first paragraph of Gina Troisi’s memoir, Angle of Flickering Light, and see if you can stop when you come to the end of it. Hold in your mind the image: the five-year-old girl playing with the pens of a father who has already left her, watching the clothes of the pin up girls pictured on their sides fall off and on again as the little girl flips the pens upside down and back. Angle of Flickering Light tells an honest story. It’s the story of a life in progress, marked at its beginning by a series of small, devastating acts—a parent who should protect and cherish instead abuses. The damage done in those early years has a long trajectory in the life that follows, and what compelled and moved me in this memoir was Troisi’s own bearing witness to her struggles to come to terms with the damage. Gina Troisi’s father is a disaster that will mark her. The book begins with descriptions of the overnight visits she makes to her father and stepmother’s house when she is five, six, seven and only a few years older. These encounters are quietly horrifying. Gina endures insults, yelling, gaslighting. Her stepmother will not allow her to eat between meals, and she develops anorexia. Her phone calls with her mother are eavesdropped on; her letters to her half-sister read by her stepmother and used against her. The result of this abuse is a kind of numbness: I realized how skilled I had become at blocking out what was going on around me, how I was able to sink so deep into myself that even I wondered where I had gone. At its beginning, Troisi’s story may seem like a Cinderella tale. While her half-sister, her stepmother’s daughter, gets all the best things, Gina gets the abuse. What this engenders in her is a deep need for escape. Trapped in a car with father and stepmother as she is taken to visit her half-sister at an expensive summer camp, Gina-the-narrator reflects: Soon I’d be the one looking for escape, taking acid at friends’ beach houses and running along the strip chased by police. I’d spend my summers in friends’ crowded cars clouded with smoke, passing wine bottles, crushing up pills….I knew this at age twelve. I knew the life I was drawn to, the kind of life I was on the verge of making. By high school, Troisi is firmly entrenched in that life. There are parties at any number of houses, chance sexual encounters. One of the pleasures of the book is the way she records these events, conveying the wild joy of release. A scene from high school has her standing up in the back seat of her friend’s moving convertible, high on mushroom tea, and reveling in the pleasure: The trees were colossal guardians walking past one another. Birches, white pines, red maples. Dogwoods, beeches, green ash. In the car, we were part of a doll’s village, a miniature playland. Troisi’s description of a trip to an abandoned children’s camp in the rain, high and aimless and restless with her friends, was a kind of reverse image of the trip she had made with her father and stepmother to the expensive half-sister’s camp that Gina would never be allowed to attend: We headed to a closed children’s camp, where we explored the empty cabins….the sky crackled, the booms of thunder reverberated within the tiny wooden structure….the rain the sound of a waterfall; it skirted off the roof, missing us. We heard breaks and pops as twigs and branches split. This rain carried the smell of summer with it, wood chips and mulch. A strength of this memoir is the sensuousness and immediacy of the language of Troisi’s language. Whatever episodes from her life she describes, we are there with her. Her descriptions of drug parties and casual sex not only bring us into the physical sensation of each moment, but also convey the looseness and careening spirit of young people giving themselves up to the moment; to life itself. It may work to escape our pain in the beginning, but at some point, it will come around in another form to remind us of what we are running from. For Gina, this pain manifests when she falls in love with an addict, an act she knows is supremely self-destructive, but which she cannot resist: In my twenties, I dated a man who was still living with his ex-girlfriend. I was living nowhere, so we had sex on the bathroom floors of friends’ apartments. We moved from floors to counters, bathmats to showers. One of these times, after we stripped one another, he called me his ex’s name by accident. I got over it rather quickly…even though I was in love with this man…I was not upset for more than a moment. I was his ex; I was myself—what was the difference? He and I were bound by a by a common need to escape ourselves…it was overridden by the way I fulfilled what this man desired, by the way he believed he’d get clean for me, by the way I convinced myself I could help him kick his habit. I expected I could be both his ex and myself—both the addict and the savior. One of my favorite aspects of this book was the way it honestly conveys the contradictory truths we so often live. To be an addict is to be continually involved in your own ongoing demise; to hurt those who love you, but Troisi conveys both the damage and the love, refusing to judge; refusing to tell an easy story that neatly divides right from wrong. In one scene, we see John, the addict Troisi is in love with, with his son Jacob. The two of them walk for hours in very cold weather, the child crying from the cold. The father-addict drops down to put his face close to his son’s; to warm his small son’s hands in his own. In so many ways, he has failed his son, just as he has failed Gina, but there is still tenderness. I was grateful to Troisi for writing a scene that embodied this complicated truth about love. This is not just a story of pain and escape; it is also a story of self-redemption. At some point, Troisi hits a point at which there is no way out but self-repair. She takes herself off of all drugs, and goes to California to heal on her own. Late in the book, Troisi makes a return trip to California, a place that was in some ways the farthest outer curve of her journey. Here, she introduces something I love: Dance Church. Those of us who have fought with our pain by becoming addicted—whether it is to drugs, sex, or the one person who is exactly wrong for us—know that there is a kind of sanctity in coming together with others like us—to heal and bear witness together. Troisi’s description of Dance Church: I danced alone, as I always did. I noticed the way others kicked their feet, leaned into and pushed off one another’s bodies. The people in the room established collaborated rhythms, had transferred heat to and from one another, clasped hands in mid movement; they gestured like mimes; splayed aerial silk that streamed across the room. For me, this image encapsulates the way Gina’s trajectory has led her at last to facing herself. I see the wild dances of the people in this room as a kind of group prayer: let us heal ourselves; let us not pass on the damage. The very last image we are left with in Angle of Flickering Light is the image of Gina writing all day, then accepting her boyfriend’s offer for a motorcycle ride. We take off down the road, the noise of the bike in my ears, and we weave along the pavement, meander up and down hills. I have one hand on the seat’s strap, and my inner thighs hold Derek’s hips, my hair fluttering around my eyes. We travel the back roads of surrounding towns, the streets lined with blue spruce pines. Trails of green blaze by us. It’s been a long journey, but now she is free. Gina Troisi’s website is here: https://gina-troisi.com/about/ About the reviewer: Kate Brandt’s work has appeared in Tricycle, the Buddhist Review, Literary Mama, Talking Writing, and Ginosko, among other journals. Her novel Hope for the Worst is forthcoming from Vine Leaves Press in 2023. She works in New York City as an adult literacy Instructor at the City University of New York. Find out more about Kate at: https://katebrandt.net Tags: memoir ← New giveaway! A review of Acanthus by Claire Potter →	cc/2023-06/en_middle_0075.json.gz/line9
__label__cc	0.528313	0.471687	My Gothic Past Login \| Register Kilmallock Abbey, Kilmallock, County Limerick - Tomb Niche http://www.tara.tcd.ie/jspui/bitstream/2262/39037/1/ertk2132.jpg (image/jpeg) The Edwin Rae Collection Arches, Architectural, Bases (Architecture), Capitals (Architecture), Church architecture Ireland, Church doorways, Columns, County Limerick, Decoration and ornament, Dominican architecture, Foliation (Architecture and decoration), Funerary monuments, Ireland, Ireland), Kilmallock, Kilmallock Dominican Priory (Kilmallock, Limerick (Ireland : County), Sepulchral monuments, Stone Carving, Stone doorways, Tombs, Tracery (Architecture) “Kilmallock Abbey, Kilmallock, County Limerick - Tomb Niche,” Gothic Past, accessed January 29, 2023, http://gothicpast.com/items/show/3069. Click the image to launch gallery view Kilmallock, County Limerick, Ireland (handwritten on back of image): c/5, Kilmallock, Co. Limerick: Tomb niche (enfeu) in N. wall of chancel, http://www.tara.tcd.ie/jspui/bitstream/2262/39037/1/ertk2132.jpg Limerick (Ireland : County), Kilmallock Dominican Priory (Kilmallock, Ireland), Church architecture Ireland, Dominican architecture, Decoration and ornament, Architectural, Tracery (Architecture), Stone doorways, Church doorways, Arches, Capitals (Architecture), Columns, Bases (Architecture), Sepulchral monuments, Funerary monuments, Tombs, Foliation (Architecture and decoration), Stone carving Artist / Creator / Agent, etc. Rae, Edwin, Collector TARA (Trinity's Access to Research Archive) URI http://www.librarything.com/profile/TRIARC Irish Research Council for Arts, Humanities & Social Sciences (IRCHSS), The Heritage Council of Ireland The Board of Trinity College Dublin These images may be downloaded and used (with attribution) for research, teaching or private study. They may not be used for commercial purposes without permission. Permission for commercial use will only be considered on completion of a Rights and Reproductions contact form. IRCHSS TRIARC The Heritage Council The Long Room Hub © 2023 Trinity College Dublin	cc/2023-06/en_middle_0075.json.gz/line16
__label__wiki	0.547217	0.547217	Home » Boardgames » The Battle for Normandy – Boardgame Review Posted on Apr 20, 2010 in Boardgames The Battle for Normandy – Boardgame Review By Michael Peccolo The Battle for Normandy. Boardgame. GMT Games. Designer, Dan Holte. $149. Passed Inspection: Nice, crisp combat play that moves the game along; good support thru Comsimworld; computer modules offered thru Cyber Gamebox and Vassal. Failed Basic: Some slight map errors where sheets join up; examples of play could be more extensive. If you roll very badly, you can find your troopers dying at sea or being dropped all over the place. Back in 1981, I plunked down my hard earned money for the latest war game that represented the invasion of the Normandy coast during WWII. It was Avalon Hill’s The Longest Day. I came to enjoy the game play and system greatly, funky unit symbols and all. Although I don’t have the opportunity to set it up and play out the full game nowadays, it still has a fond place in my heart, so it was with great interest that I opened GMT’s entry into the D-Day monster game realm, The Battle for Normandy. The designer, Dan Holte, has a number of WWII games to his credit, and I like his latest release. Yep, this is a monster game. Although it is set at battalion level like The Longest Day, the hex scale is smaller at 1250 yards per hex vs. 2 kilometers, which gives a map that covers less area of Normandy-but the game’s five map sheets actually make a larger playing surface than the old AH game. A nice change is that the map sheets make for a somewhat squared-up playing surface and have no funky joints like the map boards of the AH game. The game comes well stocked with 2,250 counters on nine counter sheets. Six of the sheets represent combat units; the remaining sheets are markers for reduced/depleted units, costal fortifications and batteries, and a few game flow markers. The colorful counters are easily separated by nationality and are marked with traditional NATO-style symbols for infantry/artillery and with vehicle illustrations for mechanized units. Units have a color-coded tab for an eye-catching quick reference to their HQ unit, which is a great help when figuring out if a unit is within supply range. Also included are a number of game charts and assist sheets, three large d6 dice and one d10 and a scenario book with six options. Although the box and website says that there is an included non-permanent marker, GMT decided at the last minute to omit this as it could damage or mar other contents. An interesting aspect of the game allows a player to break down a battalion into companies. For the Allies this is important for the initial beach assault and airborne phases as it allows the player to create some task forces, i.e. commit two infantry companies and one DD tank company to the first wave. For the German, it allows the initial beach-defense battalions to spread out in order to assist beach strong points or to create and hold a thinly defended line. The game uses three "turns" per day. It begins with a Night Turn that allows for house keeping (weather, Mulberry construction, etc). Naval units are moved and replacements and reinforcements arrive. Next is the Air Allocation Phase, a neat innovation that allows the German to tailor his operational level anti-aircraft protection by allocating points to specific map sheets while the Allies allocate air points for interdiction, armed recon and/or ground support. The Allied player can see his available air points permanently affected by this operational level and tactical AA fire. A laminated map sheet is provided for each side, to be used with non-permanent markers. The Night Turn finishes up with each player allowed to do some engineering tasks, night movement and combat (albeit limited). Daytime is broken into an AM and a PM turn which allows the players (Allied first) to ready artillery units and conduct movement, followed by attacks and ending with a mechanized movement phase. All in all, the game turns move smoothly and players can quickly get with the flow. The June 6th turn has a couple of special phases to conduct the airborne landings and bring the troops ashore. In the airborne phase the locations of pathfinders are chosen and the units try to land on those locations. If you roll very badly, you can find your troopers dying at sea or being dropped all over the place. Scatter direction from the pathfinder is determined by battalion but a separate die roll is made for each company to determine the scatter distance for each one. The beach landings have the usual problems of whether or not DD Tanks make it ashore. Add in potential for drift and the beaches can become a mess; I’ve had problems at Omaha and Gold beaches. The phases for the first day are a little involved as there are three landing/movement phases, which include combat (of the quick d10 style, see below). Once these are completed, the turns move more quickly. The game uses two different systems for resolving combat. There is a traditional hex(es) vs. hex combat resolved on a CRT, using 2d6 dice. However, for air-to-ground, counter-battery, artillery attacks only, initial airborne/airlanding/beachhead combats a single d10 is used to resolve any and all combats of these types, to include defensive fire. Basically, if you roll equal to or less than the firing unit’s combat strength you inflict a hit, which removes an enemy step. Modifiers are few: terrain, unit density in target hex and/or in range of tactical AA units (for air attacks). At first I thought this would be a bit confusing, but once implemented, I found it to be terribly easy to quickly run thru attacks without having to constantly refer to the CRT for a result. It does make for some bloody fighting on the beaches Supply is handled simply with units having to maintain a supply line, hopefully thru their HQ unit. The Allies do have some limitations which are handled by Combat Supply Points (CSP) that allow them to conduct multihex attacks, support attacks with artillery, fire naval units or artillery units (except in response to counter-battery fire which is "free"). This allows the game to quickly deal with this issue with a minimum of fuss for the Allied player, yet it can greatly affect his actions if they greatly outstrip re-supply capacity. As with many monster games, the key issues players have to deal with are set-up and playing space. It’s no fun to set up and start a game only to have an interloper (like a cat) traipse across the battlefield, scattering units hither and yon and chewing up the 21st Panzer. GMT has a fabulous asset in the Vassal Game System. It is an easily downloaded system that has a module for The Battle for Normandy. The tutorial is great and in a short time a player can be ready to run a game with a friend either online or via play-by-email. Once you have the game set up, it is there, ready to use in an instant. You don’t have to worry about taping the map sheets together or setting out all the units, and units only move if and when you want them to, not when the kids want to mess with the old man. Also, GMT has great customer support thru their website as well as on boards at Comsimworld and elsewhere. All GMT games come with nicely illustrated examples of play (sometimes covering more than one game turn), but this game has only a detailed example of play for the initial landing at Sword beach. While this helps explain the details of the very first turn of the game, it really does not show how anything else is handled later in the game (and it omits artillery fire that can occur during the first day). I would have liked to see the example run thru a full turn or two on that small portion of the entire battlefield. I’d recommend this game to those that enjoy operational level games. The learning curve is very gentle and it allows players to plan out operations and direct replacements and reinforcements with a simple method that won’t turn off those who don’t want to be bean counters. It also can be a great game for a group of friends to gather around and fight out the battles, as everyone can be in the action from the get go. The small scenarios can be played out in an evening. If you feel daunted by a whole pile of counters or a large map and/or don’t feel up to working through the computer programs available to play the game, you might want to take a pass. Michael Peccolo is a retired Armor Major from the US Army with overseas duties, Company commands and additional assignments in recruiting and ROTC. He lives in Tennessee where he raises horses with his wife. kevin Duke 4/21/2010 Interesting review. I’m curious about where ‘raising horses in Tenn.’ might be, since my parents lived in Shelbyville (horse country for sure.) My brother (career army) and I will be at Nashcon for Mem. Day weekend and I wondered if this game might be there. Gerald D. Swick 4/22/2010 One of the dealers may have a copy there, Kevin, but we can’t say for sure. Tony Kerstan 4/21/2010 I pre-ordered this game, but haven’t played it as yet with our group. The counters and maps are excellent, but what makes this game are the rules, which are easy to learn and understand. It is great to have a monster game without the monster rules 🙂 Well done to the designer, player testers and the development team. Walt Burgoyne 4/27/2010 The Battle for Normandy, run by designer Dan Holte, was a major feature of Heat of Battle last year – and will be featured again Aug 13-15 at Heat of Battle IV. This event is The National World War II Museum’s very own WWII wargame convention. Imagine playing alongside Stuarts, Shermans, 88’s and underneath a Spitfire and Dauntless. All the while Museum visitors walk among the games, learning about both the history and the hobby. Game Masters, who gain free admission, are invited to submit games thru our website. http://www.nationalww2museum.org/calendar/educational-wargaming-at-the.html Steven Duke 4/27/2010 I’ve got my copy coming, thanks. Hope to see you at Nashcon! Brian Knipple 7/4/2010 Agree with most of what the reviewer concludes. Having played the campaign game three times, our group has concluded that the Sudden Death victory conditions can not be used as the limited supply precludes Allied the attacks required to achieve it and the German player will unrealistically sacrifice units to delay the Allies until the 15th of June in order to win. We like the game as the simple rules allow it to be played at a reasonable pace. Still like NES’s Killing Ground/Overlord.. peter rinaldi 7/24/2010 plusses – nice counters and maps, rules fairly easy to absorb with a couple of readings. pretty to look at, A/A+ for graphics advice – youre going to need a 4 x8 piece of plywood to put on the dining table unless you have a big big gaming table negative – two of the maps dont fit together as they should. gmt has a slip of paper in the box, explaining how to cut and paste. still a horrible gaffe considering it’s a $100 game question – while u.s. infantry were often carried by trucks, german infantry often had much less truck carrying capacity. this should be reflected in the base movement values on the units. shouldn’t it? most units have a six for a movement. german infantry should probably have 4’s…especially the weaker, unaffiliated units…and those composed ot russians, poles, the very young and the very old – the so called stomach battalions. should german panzer types have less than a six for movement on clear days…when allied air would be at its max??? would like to see a june 7 scenario…with the beach landings done, airdrops complete and losses sustained by both sides. starting with june 7 allows you to avoid the fiddly and move on to the meat of the game recommedation to players – when you get ready to put away the game after the first play, be sure to have a ton of little plastic bags. otherwise you will spend a long time sorting counters to prepare for your second game.	cc/2023-06/en_middle_0075.json.gz/line23
__label__cc	0.708663	0.291337	Hindu Texts on Women II: The Ramayana Back from China yesterday, I'll try to put up a few posts during my visit to the US. (China blocks BlogSpot, for some obscure reason.) Here we continue our ongoing series on "How Jesus Liberates Women." Since this series has now been spread over several years, it may help to recap the argument to date before continuing it, and provide links. I began the series by describing the challenge, from John Loftus this time as it happens, that precipitated it. I then told the story of how I became interested in the subject, as a missionary confronted with forced prostitution in Southeast Asia. We looked at the strong sociological correlation between the influence of Christianity on a society and the high status of women in that society, around the world. I described historical evidence that it was in fact the Gospel that changed things for the better, and not just in "Christian" countries. We thoroughly examined the gospels, and found the life and teachings and example of Jesus in fact provide a very plausible cause of that effect. Then we looked at Acts, and found that while not quite as revolutionary as Jesus' own teachings, early Christians tended most of the time to further the revolution that he had set in motion in liberating women. (We have not yet gotten to the letters of Paul, though I intend to analyze them as well.) The first several arguments above having generated hundreds of responses on various sites, we took a pause and amused ourselves by looking at ten amusingly lame "rebuttals" to my arguments, including by John Loftus and Anne Rice. (Not many very good responses have come yet, but I do plan to get to those eventually, as well.) The conversation then shifted to what other religious texts say about the status of women, or their role in society. First, I read the entire Qu'ran, and cited and analyzed every single important passage related to women, and almost every minor passage, first in answer to Karen Armstrong, then a second analysis, then a final one, in which I concluded that traditional Christian criticism of Mohammed and his book was on the money. It turned out that Mohammed was even a greater cad, and a more shameless and selfish manipulator and abuser, than I had realized before reading the Muslim holy book. Then I offered a similar analysis of the Hindu Rig Veda, which turned out to reserve for women quite conventional roles of highly subservient wives and seductresses. The gross abuse of later centuries had not yet been justified, but neither can one find in the sections analyzed (I did not read the entire text, which is quite long and often boring) any special compassion or liberation for women. How Jesus Liberates Women: The Ramayana Retold by Krishna Dharma Now we turn to the great Indian epic, the Ramayana. This is a story about Rama and his wife, Sita. Briefly, it tells how the god Vishnu, the greatest god among a panoply of divine figures, incarnates as the son of a king of vast and wealthy state. His goal is to defeat the great demon, Ravana. The demon, who already has a huge harem, and who easily defeats the gods in battle, kidnaps Rama's wife, Sita, and demands that she marry him. She refuses, and Rama goes to war, aided by an army of humans, monkeys, and some bears, on the demon stronghold across the ocean. Not surprisingly, there is quite a bit about relations between the sexes and the role of women in such a tale. While women are still allowed to move about to some extent -- Sita accompanies her husband to live in the forest when he is banished by his father -- hints of increasing oppression, perhaps even justification for such oppression, is liberally scattered about the text. It is made clear that a woman's only good is to look to her husband with starry eyes. Several times it is even suggested that if he should die, the best she could do would be to go ahead and roast herself to death to follow him. (Though this is never carried out.) (Note: apparently it actually was carried out in the oldest extant version of the tale. Here is a feminist and secularist take-down of the influence of The Ramayana on women in India which goes into more scholarly detail than the more naïve present piece will do.) Here's the play-by-play, and commentary: 2. "As Ravana sat idly . . . he suddenly noticed a lady sitting in meditation. This was most unusual. Women were rarely seen in those mountains. Sometimes the rishis would have their wives with them." "She would make an excellent addition to his other consorts." Ravana, as a demon, can perhaps be allowed a bit of sexism. But notice the background assumption: it was still possible for religious ascetics to bring wives, but rarely done. Of course, in Buddhism it would become impossible. 4. "Looking down in shyness she said, 'I was born as an incarnation of the holy Vedas.'" So women can also be divine -- that is never doubted -- though even divine women should express a kind of public deference, should not assert themselves. 83. "The greatest piety lies in serving one's father. Indeed, O gentle lady, greater still is service to the mother, according to sacred texts." Treat your women with love. 48. Janaka loved his daughter Sita, raised her with love. 53. Janaka: "My dear Rama, I now give to you Sita, my own beloved daughter . . . She will always remain exclusively devoted to you ad wil follow you like your own shadow." 54. Gives daughter 100,000s of cows and elephants, horses, chariots, and foot soldiers as a dowry. Millions of pieces of silk, cotton, also carpets, gold, silver, jewels, "and hundreds of richly adorned maids for each of the brides." Good men in the Ramayana thus do love their daughters and wives, more or less. However, this is perceived as very much the love of a superior to an inferior: General subservient role of women 19. "His senior wife, Kaushalya, gently massaged his feet, while Sumitra and Kaikeyi fanned him with snow-white chamara whisks." These are the king's three named women, fulfilling their roles. 21. "Dasareth was perturbed that he had no son." He did not, apparently, worry about daughters. 136. "Sons would disobey their fathers and wives their husbands." 156. "Beautiful young maidens attended upon the soldiers, washing them and massaging their feet and bodies with fragrant oils." 176. The god Indra is fanned with whisks by two beautiful young girls. 206. "The nature of women is to be fickle and given to sentimentality." However, women should not be treated with violence, but be protected: Don't do violence to women. 36. Yaksha woman named Tataka, "as powerful as a thousand elephants and able to assume any form she desired." "Virtuous Rama was hesitant to attack a woman." The impropriety of attacking a women is mentioned several times in the Ramayana, though this reluctance is in this case rightly overcome, the woman in question being a deadly demon. 150. "Even when sinful, women should never be slain." 386. Ravana advised, "No good can ever come from killing a woman, for it is condemned by everyone." Rape is Wrong! 6. Parvati's eyes turned red as she replied to her powerful husband. 'As this wretch has frightened a woman by his violence, his death shall be caused by a woman." "Ravana was not at all concerned whether she was married or not. He had stolen the wives of gods, Gandharvas and demons everywhere . ." 10. "But this beautiful girl did not reciprocate his advance . . . (He rapes Rambha) "If he ever again rapes another maiden he will immediately fall dead." Rape, then, is a recognized evil. Sex Happens 249. "Even great sages in the forest were sometimes overcome by lust." 250. "Even the great Vishvamitra had once lost himself in sexual pleasure for a hundred years, thinking it to be a day." Polygamy and its consequences 61-73. Hunch-backed maid Manthara appears to be the only commoner in the book. She's the villain who precipitates all the troubles. As senior maid to king Dasareth's beautiful younger wife, Kaikeyi, she "enjoyed special privileges." "Kaushalya had long been snubbed by the king in favor of Kaikeyi." She would get revenge when Rama became king, the maid argued. Dasarath: "I have always neglected that godly lady in favor of you. Remembering my acts now gives me great pain." 86. "That pain will be compounded by the cruel words of a junior wife - What could be more painful for a woman?" . . . "Kaushalya thought how she had always been neglected by her husband in favor of Kaikeyi." So even in the ideal kingdom, it is recognized that polygamy cannot help but result in quarrels and in-fighting and misery, afflicting the next generation. No hint it given, however, that it is therefore wrong or ought to be discontinued. If both sages and sagely kings will grab when they can, and women should be protected, one should one do to protect them? Well, you might try keeping them inside the house. Guard Your Women -- by shutting them indoors? Given that any man may give into lust, and given the apparent dearth of protections against rape 213. Ravana kept his wives in an inner section in Lanka, with Rakshasas guarding them. 276. "Protecting one's wife was always the duty of pious men." The central dilemma of the Ramayana is that the divine wife of the incarnation of Vishnu has been kidnapped by the ruler of the demons, and has stayed in his home for a year. In fact, she has adamantly refused his advances, and repined in sorry by herself, despite many cruelties visited upon her by his attendants. But the appearance of evil is enough for him. He cannot even be perceived as trusting his wife to refuse a rival's advances, because his people will not forgive him for being so weak. Therefore: 408. Rama: "The people desire to see her and that is not condemned by scripture. A house, a veil or a costume are never the protection of a chaste woman. Her character alone is her shield. " But that, apparently, was not enough. The demon had held Sita at least in the act of kidnapping her: 409. "I have not undergone this endevour out of a desire to again have you as my wife. You have long dwelt in the house of another. How then can I take you back into my house? Your good character has become suspect. Ravana clasped you in his arms and lookd upon you with a lustful eye. Therefore, my attachment for you has ended." So a wife need not actually commit adultery for her husband to ditch her. She needs merely to have the possibility or suspicion of adultery. And then he MUST get rid of her, or the neighbors will begin to talk, and he will lose their respect. From which it follows, that the only solution is to lock women indoors. And if you can afford it, have men who have been mutilated and cannot have sex with them guard your women. Husband = God 92. "So long as the king lives you should render him service, for this is the eternal moral code. For a married woman the husband is her deity and her lord." "The queen listened in silence as Rama, invoking the ancient religious codes, described the fate of a woman who does not serve her worthy husband . . . A woman who devotedly serves her husband, even without any other religious practices, will reach the highest heaven." 95. She had been trained in all the arts of service. 96. You have always instructed me that a wife can never be independent from her husband, O Rama, indeed she is half of his very self. The husband was the wife's supreme deity. Sita quoted the scriptures. 107. Whether wealthy or without any means whatsoever, he is always your worshipful deity. "As a lute is useless without its strings or a chariot wihout its wheels, so a wife is destitute when separated from her worthy husband . . . the husband is a veritable deity." 426. "For a chase woman the husband is the master, deity and preceptor." The moral of perhaps India's most influential epic is clear, here: wives should serve their husbands as gods. That's how to get to heaven. Now I wonder which gender thought up that rule? A Good Woman should not want to live after her husband is gone! 136. "Only Kaikeyi, casting all propriety to the winds, could live happily after seeing her husband die in agony." 148. Although they both longed to ascend the pyre and follow their husband . . . 317. Sita: "The death of a husband before his wife is declared to be a catastrophe." 318. "Kill me at once, O demon. Lay my dead body on top of Rama and unite a husband with his wife." 242. "I too shall enter the fire along with Vali. I have no desire for life without my husband." 403. Ravana's wife: "When I was always your devoted servant, why did you long for Sita? Alas, my life is useless as I could not satisfy my lord." "As my husband has renounced me in a public gathering, I shall enter fire and give up my life." Sita does just that. But the fire god Agni protects her, and she emerges from the fire hale and hearty. However, her divine husband then dumps his innocent wife for the sake of propriety. The status of women in the Ramayana is not, then, utterly black, with no chinks of light. Men should not be violent against women, even evil women. They should, rather, be kind to their daughters and wives. However, women are clearly inferior to men, and should serve them in just about every way. Furthermore, the good principle that women should be protected, is easily manipulated into a desire to control, enslave or abuse them. Just the appearance or possibility of betrayal by their wives is enough for even a great incarnation of Vishnu to ditch his beloved wife, even after she has suffered great pains for her love for him. The obvious solution is to follow the course of the demon Ravana, and keep one's women locked up indoors -- as the Indian upper classes would come to do. Then one can love them (if that's really what one wants to do -- incentive is lost without a market economy in love!) without fear of betrayal. Meanwhile, the influence of the Law of Manu, or similar texts (which we may analyze later), is already strong upon the Ramayana. A truly faithful women, it is said again and again, will throw herself into the fire upon her husband's death, or even if he ditches her, or even just doubts her. This is not liberation, it marks the course of enslavement that women would undergo over some two millennia, until the Good News of Jesus arrived in the subcontinent. As we have already seen, Jesus treated women in an entirely different way. And Jesus' teachings and examples would liberate women enslaved by the increasing degradation of women in the evolving Hindu tradition -- of which the Law of Manu provides even clearer evidence. Posted by David B Marshall at 9:19 AM Labels: Christianity and women, Hinduism, India Dear D. Marshall, Good to have you back! I missed your posts! Hopefully we will be seeing more soon. RD Miksa www.idontgiveadamnapologetics.blogspot.com Thanks, RD. I don't know how controversial I'll have time to be -- I have a long list of "chores" to accomplish while I'm home, too. "I don't give a damn apologetics?" About what? Why Pluralism, Exclusivism, and Inclusivism all fail Blind Faith: "I refute it thus!" Was Jesus Literate? The Worst Book Ever? Raphael Lataster's "No Jesus... "Eastern" and "Western" religion: two ridiculous n... Beijing and Hunan: photos from China	cc/2023-06/en_middle_0075.json.gz/line32
__label__cc	0.725917	0.274083	SettlePou Welcomes New Attorneys No Comments on SettlePou Welcomes New Attorneys For more than 30 years, SettlePou has provided a unique brand of big-firm expertise coupled with small-firm attention to our clients through highly skilled, service-focused attorneys. SettlePou has strategically grown to over 30 attorneys with a qualified support staff. The firm has attracted top talent by cultivating a superlative work environment, being recognized by the Dallas Morning News in 2009 as one of its Top 100 Places to Work. Continuing in that tradition, SettlePou is proud to announce the addition of two attorneys: Kent D. Williamson and Mark T. Craig. Mr. Williamson joined SettlePou's Insurance Defense Section, as a shareholder, on June 16, 2010. Mr. Williamson's experience is primarily in the defense of "non-subscriber" employers who voluntarily opt out of the Texas Workers' Compensation Insurance Program. Mr. Williamson attended undergraduate school at Texas Tech University and the University of Texas-Dallas. He graduated from the University of Tulsa College of Law in 1990. Mr. Craig also joined the Insurance Defense Section on June 16, 2010. Mr. Craig also practices in defense of non-subscriber employers, as well as premises liability claims and business/ commercial litigation. Mr. Craig is a native of Dallas, Texas. He received his undergraduate degree from Southern Methodist University in 1995 and graduated from St. Mary's University School of Law in 2000. Mr. Williamson and Mr. Craig defend non-subscriber employers in both traditional third-party lawsuits and lawsuits involving alleged ERISA violations. In addition, both Mr. Williamson and Mr. Craig represent clients in employment disputes, premises liability, and commercial vehicle and general insurance defense litigation. ← Red Flag Rules — Update on Impact to Health Care Industry → The Internet and Personal Jurisdiction:	cc/2023-06/en_middle_0075.json.gz/line34
__label__wiki	0.690431	0.690431	Woz Speaks Mac Links US Fest Rian Dutra check: Now: 2023-01-29 22:01:42 Woz answers questions from students. What do you think the most successful Apple product was and why? I would say that the most successful Apple product was the iPhone, but only in the limited sense of a hard product that made money. I would propose that the App Store for that iPhone is what changed life so much that the iPhone became an essential part of life. It was a product that could grow. I would also propose that the Apple ][ was the most successful product because without it, the other products would not have happened. The Apple ][ was created from basically zero money and made a great company that had huge wealth to invest in other products, eventually hitting more gold. The Apple ][ was also very successful in defining personal computing, especially that it had to be fun to use. What impact do you think Apple had and still has on the world today? Apple stands out as a company that doesn’t just produce the same old thing to make money. Apple has always stood for innovation and going against the older ways. Apple has had better insight into which building technologies (color, mouse-based, laserwriter, USB, touchscreen, and much more) would define the future. By being correct, Apple was usually first and there were lots of followers. What was it like to create the first Apple computer? There were 2 early computers. The Apple I was not created for Apple but it defined what it took to make a useful personal computer at an affordable price. The Apple ][ was so advanced that nobody could have expected it. The Apple ][ was the first computer to have the elements that would be required for home computers for the masses, not just computer experts. It was the first time arcade games were in color and the first time they could be developed in hours to days by anyone of any age, as software, instead of being designed by specialized engineers over months, as hardware before this computer. This computer was given away to hobby groups so they could build their own and start the revolution. I owned it and Steve Jobs had not seen it yet. For me, I had developed skills that I still can’t believe today. I also wanted my own computer and knew that I would design and build it if I ever saw it possible at a low cost. So when the time came, triggered by low enough prices of the chips a computer could be made from, I was going to build it. I owned it and did not create it for a company or money. I knew how good it was and eventually changed my mind and started the real Apple with Steve Jobs. We both believed that this would be the start of a company that would make a lot of money. It was our only money-making product for the first 10 years of Apple. Steve Wozniak . 2023 Business Opportunities for Woz: inquiry@woz.org General Inquires: teamwoz@woz.org Get in Touch with Woz	cc/2023-06/en_middle_0075.json.gz/line40
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__label__wiki	0.856363	0.856363	"Kandiyohi" AN IDEALIZED STATUE TYPIFYING THE MEANING OF THE WORD This Indian image first became part of Willmar in 1915, when it appeared as the Kandiyohi County Bank symbol. That same year, artist Eben E. Lawson, commissioned by the bank, created "Kandiyohi," a smaller sculpture which was the basis for this larger statue. In 1929, "Chief Kandiyohi" (a nickname the Indian symbol received, although there never really was a chief by that name) found a home with the Bank of Willmar following several bank mergers. Bank of Willmar President Norman Tallakson contracted to have the 17-foot statue made in 1956. It was mounted on the bank overlooking Litchfield Avenue for 27 years. On July 25, 1983, the statue was moved to this site, after it was donated to the City of Willmar and Kandiyohi County by First American Bank and Trust of Willmar. This marker was sponsored by First American Bank and Trust of Willmar and Erected in 1985 ""Kandiyohi"." The Hi-Line and the Yellowstone Trail: To Glacier Park and Back Again. 1 Sept. 2004. Lacus Veris. 29 Jan. 2023 <http://lacusveris.com/The Hi-Line and the Yellowstone Trail/The Wide Missouri/Marker: Kandiyohi, Willmar, MN 2004-08-09 16.20.22.shtml>. Last modified 6 Oct. 2015. Served 5057 times between 17 May. 2010 and 28 Jan. 2023. Contact mailto:CRhode@LacusVeris.com?subject=LacusVeris.	cc/2023-06/en_middle_0075.json.gz/line45
__label__cc	0.667719	0.332281	Works of Dr. Jonathan Swift (Contents) Revision as of 12:41, 3 September 2019 by Dnroot (talk \| contribs) (→‎Volume IV) Table of contents for Works of Dr. Jonathan Swift (Edinburgh: Printed for A. Donaldson and sold at his shop in London, and at Edinburgh, 1768). 1 Full Text 2.1 Volume I 2.2 Volume II 2.3 Volume III 2.4 Volume IV Main Article: Works of Dr. Jonathan Swift Volume I 1 AN ACCOUNT OF THE LIFE OF THE Reverend Jonathan Swift, D. D. Dean of St. Patrick's, Dublin. 77 VERSES, &c. referred to from the LIFE of Dr. SWIFT. i A TALE OF A TUB. Written for the UNIVERSAL IMPROVEMENT OF MANKIND. Diu multumque desideratum. To which is added, An Account of a Battle between the Ancient and Modern Books in St. Jame's Library. xxviii POSTSCRIPT. 1 TO THE RIGHT HONOURABLE JOHN LORD SOMMERS. 11 THE EPISTLE DEDICATORY, TO HIS ROYAL HIGHNESS PRINCE POSTERITY. 23 THE PREFACE. 43 SECT. I. THE INTRODUCTION. 64 SECT. II. 87 SECT. III. A digression concerning critics. 104 SECT. IV. A TALE OF A TUB. 126 SECT. V. A digression in the modern kind. 138 SECT. VI. A TALE OF A TUB. 151 SECT. VII. A digression in praise of digressions. 161 SECT. VIII. A TALE OF A TUB. 174 SECT. IX. A digression concerning the original, the use, and improvement of madness in a commonwealth. 199 SECT. X. A FURTHER DIGRESSION. 209 SECT. XI. A TALE OF A TUB. 233 THE CONCLUSION. 241 A FULL AND TRUE ACCOUNT OF THE BATTLE FOUGHT LAST FRIDAY, BETWEEN THE ANTIENT and the MODERN BOOKS IN ST. JAMES'S LIBRARY. 243 THE BOOKSELLER TO THE READER. 245 THE PREFACE OF THE AUTHOR. 299 A DISCOURSE CONCERNING THE MECHANICAL OPERATION OF THE SPIRIT. IN A LETTER TO A FRIEND. A FRAGMENT. 300 THE Bookseller's Advertisement. 304 SECT. I. 318 SECT. II. 3 TRAVELS INTO Several remote Nations of the World; By LEMUEL GULLIVER, First a Surgeon, and then a Captain of several Ships. In FOUR PARTS. PART I. A Voyage to LILLIPUT. PART II. A Voyage to BROBDINGNAG. … 5 THE PUBLISHER TO THE READER. 7 A LETTER FROM Captain Gulliver to his Cousin Sympson. 1 PART I. A Voyage to LILLIPUT. 1 CHAP. I. THE author gives some account of himself and family. His first inducements to travel. He is shipwrecked, and swims for his life; gets safe on shore in the country of Lilliput; is made a prisoner, … 16 CHAP. II. The emperor of Lilliput, attended by several of the nobility, comes to see the author in his confinement. The emperor's person and habit described. Learned men appointed to teach the author their … 31 CHAP. III. The author diverts the emperor and his nobility of both sexes in a very uncommon manner. The diversions of the court of Lilliput described. The author hath his liberty granted him upon certain … 42 CHAP. IV. Mildendo, the metropolis of Lilliput, described, together with the emperor's palace. A conversation between the author and a principal secretary concerning the affairs of that empire. The author's … 50 CHAP. V. The author, by an extraordinary stratagem, prevents an invasion. A high title of honour is conferred upon him. Ambassadors arrive from the emperor of Blefuscu, and sue for peace. The empress's … 59 CHAP. VI. Of the inhabitants of Lilliput; their learning, laws, and customs, the manner of educating their children. The author's way of living in that country. His vindication of a great lady. 74 CHAP. VII. The author, being informed of a design to accuse him of high-treason, maketh his escape to Blefuscu. His reception there. 86 CHAP. VIII. The author, by a lucky accident, finds means to leave Blefuscu; and, after some difficulties, returns safe to his native country. 95 PART II. A Voyage to BROBDINGNAG. 95 CHAP. I. A great storm described, the long-boat sent to fetch water, the author goes with it to discover the country. He is left on shore, is seized by one of the natives, and carried to a farmer's house. … 113 CHAP. II. A description of the farmer's daughter. The author carried to a market-town, and then to the metropolis. The particulars of his journey. 122 CHAP. III. The author sent for to court. The queen buys him of his master the farmer, and presents him to the king. He disputes with his majesty's great scholars. An apartment at court provided for the … 137 CHAP. IV. The country described. A proposal for correcting modern maps. The king's palace, and some account of the metropolis. The author's way of travelling. The chief temple described. 144 CHAP. V. Several adventures that happened to the author. The execution of a criminal. The author shews his skill in navigation. 158 CHAP. VI. Several contrivances of the author to please the king and queen. He shews his skill in music. The king enquires into the state of England, which the author relates to him. The king's observations … 171 CHAP. VII. The author's love of his country. He makes a proposal of much advantage to the king, which is rejected. The king's great ignorance in politics. The learning of that country very imperfect and … 181 CHAP. VIII. The king and queen make a progress to the frontiers. The author attends them. The manner in which he leaves the country very particularly related. He returns to England. 199 PART III. A VOYAGE TO LAPUTA, BALINBARBI, LUGGNAGG, GLUBBDUBDRIB, and JAPAN. 199 CHAP. I. The author sets out on his third voyage, is taken by pyrates. The malice of a Dutchman. His arrival at an island. He is received into Laputa. 207 CHAP. II. The humours and dispositions of the Laputians described. An account of their lèarning. Of the king, and his court. The author's reception there. The inhabitants subject to fear and disquietudes. … 219 CHAP. III. A phænomenon solved by modern philosophy and astronomy. The Laputians great improvements in the latter. The king's method of suppressing insurrections. 227 CHAP. IV. The author leaves Laputa, is conveyed to Balnibarbi, arrives at the metropolis. A description of the metropolis, and the country adjoining. The author hospitably received by a great lord. His … 263 236 CHAP. V. The author permitted to see the grand academy of Lagado. The academy largely described. The arts wherein the professors employ themselves. 247 CHAP. VI. A further account of the academy. The author proposes some improvements, which are honourably received. 255 CHAP. VII. The author leaves Lagado, arrives at Maldonada. No ship ready. He takes a short voyage to Glubbdubdrib. His reception by the governor. 262 CHAP. VIII. A further account of Glubbdubdrib. Ancient and modern history corrected. 270 CHAP. IX. The author's return to Maldonada. Sails to the kingdom of Luggnagg. The author confined. He is sent for to court. The manner of his admittance. The king's great lenity to his subjects. 276 CHAP. X. The Luggnaggians commended. A Particular description of the struldbrugs, with many conversations between the author and some eminent persons upon that subject. 289 CHAP. XI. The author leaves Luggnagg, and sails to Japan. From thence he returns in a Dutch ship to Amsterdam, and from Amsterdam to England. 295 PART IV. A Voyage to the country of the Houyhnhnms. 295 The author sets out as captain of a ship. His men conspire against him, confine him a long time to his cabbin. Set him on shore in an unknown land. He travels up into the country. The Yahoos, a strange … 305 CHAP. II. The author conducted by a Houyhnhnm to his house. The house described. The author's reception. The food of the Houyhnhnms. The author in distress for want of meat, is at last relieved. His manner … 314 CHAP. III. The author studious to learn the language; the Houyhnhnm, his master, assists in teaching him. The language described. Several Houyhnhnms of quality came out of curiosity to see the author. … 322 CHAP. IV. The Houyhnhnms notion of truth and falshood. The author's discourse disapproved by his master. The author gives a more particular account of himself, and the accidents of his voyage. 330 CHAP. V. The author, at his master's command, informs him of the state of England. The causes of war among the princes of Europe. The author begins to explain the English constitution. 340 CHAP. VI. A continuation of the state of England. The character of a first or chief minister of state in european courts. 350 CHAP. VII. The author's great love of his native country. His master's observations upon the constitution and administration of England, as described by the author, with parallel cases and comparisons. … 361 CHAP. VIII. The author relates several particulars of the yahoos. The great virtues of the Houyhnhnms. The education and exercise of their youth. Their general assembly. 370 CHAP. IX. A grand debate at the general assembly of the Houyhnhnms, and how it was determined. The learning of the Houyhnhnms. Their buildings. Their manner of burials. The defectiveness of their language. 378 CHAP. X. The author's oeconomy, and happy life, among the Houyhnhnms. His great improvement in virtue by conversing with them. Their conversations. The author hath notice given him by his master, that … 389 CHAP. XI. The author's dangerous voyage. He arrives at New-Holland, hoping to settle there. Is wounded with an arrow by one of the natives. Is seized and carried by force into a portugueze ship. The great … 401 CHAP. XII. The author's veracity. His design in publishing this work. His censure of those travellers who swerve from the truth. The author clears himself from any sinister ends in writing. An objection … Volume III 1 A Discourse of the contests and dissentions between the nobles and the commons in Athens and Rome; with the consequences they had upon both those States 84 The Sentiments of a church-of-England man, with respect to religion and government 137 An argument to prove, that the abolishing of christianity in England, may, as Things now stand, be attended with some inconveniencies, and perhaps not produce those many good effects proposed thereby 167 A project for the advancement of religion, and the reformation of manners 211 A letter from a member of the house of commons in Ireland, to a member of the house of commons in England, concerning the sacramental test 245 A tritical essay upon the faculties of the mind 256 Predictions for the year 1708. Wherein the month and day of the month are set down, the persons named, and the great actions and events of next year particularly related, as will come to passWriten to … 276 The accomplishment of the first of Mr. Bickerstaff's predictions; being an account of the death of Mr. Partridge the almanack-maker 282 Squire Bickerstaff detected; or, the astrological impostor convicted. By John Partridge, student in physick and astrology 296 A vindication of Isaac Bickerstaff, Esq; against what is objected to him by Mr. Partridge in his almanack for the present year 1709. By the said Isaac Bickerstaff, Esq 308 Merlin's prophecy 315 Meditation on a broom-stick 318 A proposal for correcting, improving, and ascertaining the English tongue. In a letter to the most honourable Robert earl of Oxford and Mortimer, lord high treasurer of Great-Britain 351 Some free thoughts upon the state of affairs in the year 1714 393 Thoughts on various subjects 1 A Letter to a Young Clergyman lately entered into Holy Orders 40 An Essay on the Fates of Clergymen 56 An Essay on Modern Education 72 A Letter to a Young Lady, on her Marriage 93 The wonderful Wonder of Wonders 101 The Wonder of all the Wonders that ever the World wonder'd at 106 A Modest Proposal to the Publick, for preventing the Children of poor People in Ireland from being a Burthen to their Parents or Country, and for making them beneficial to the Publick 125 By Dr. ARBUTHNOT and Mr. POPE. … . Martinus Scriblerus his Treatise of the Art of Sinking in Poetry 127 Chap. I. INTRODUCTION 131 Chap. II. That the bathos, or profund, is the natural taste of man, and in particular of the present age. 133 Chap. III. The necessity of the bathos, physically considered 136 Chap. IV. That there is an art of the bathos, or profund. 136 Chap. IV. That there is an art of the bathos or profund 138 chap V. Of the true genius for the profund, and by what it is constituted 146 Chap. VI. Of the several kinds of genius in the profund, and the marks and characters of each 150 Chap. VII. Of the profund, when it consists in the thought 154 Chap. VIII. Of the profund, consisting in the circumstances; and of amplicication and periphrase in general 159 Chap. IX. Of imitation, and the manner of imitating. 164 CHAP. X. Of tropes and figures: and first of the variegation, confounding, and reversing figures 172 Chap. XI. The figures continued : of the magnifying and diminishing figures 182 Chap. XII. Of expression, and the several sorts of style of the present age 193 Chap. XIII. A project for the advancement of the bathos 198 Chap. XIV. How to make dedications, panegyrics, or satyrs, and of the colours of honourable and dishonourable 202 Chap. XV. A receipt to make an epic poem 207 Chap. XVI. A project for the advancement of the stage 217 M. Scribleri virgilius Restauratus 228 Essay of the Origin of Sciences, by Mr. Pope and Dr. Parnell 247 Annus Mirabilis 259 Stradling verses Styles, a Specimen of Scriblerus's Reports 265 A Key to the Lock 295 Memoirs of P.P. Clerk of this Parish. 313 Thoughts on several Subjects Retrieved from "http://lawlibrary.wm.edu/wythepedia/index.php?title=Works_of_Dr._Jonathan_Swift_(Contents)&oldid=70636"	cc/2023-06/en_middle_0075.json.gz/line46
__label__cc	0.592815	0.407185	Dyers unit record for the 9th MSM: Organized at large in Missouri February 12, 1862, to September 20, 1863. Attached to District of Rolla, Dept. of Missouri, to February, 1863. District of North Missouri, Dept. of Missouri, to July, 1865. SERVICE.--Regiment concentrated at Columbia, Mo., May 15, 1862. Ordered to Jefferson City, Mo. Assigned to duty in District of Rolla, Mo., until April, 1863. Action near Memphis, Mo., July 11, 1862. Brown Springs July 27. Moore's Mills, near Fulton, July 28-29. Kirksville August 6 (Detachment). Pursuit of Poindexter and skirmishes at Grand River, Lee's Ford, Chariton River, Walnut Creek, Compton's Ferry, Switzler's Mills and Yellow Creek August 8-15. Near Stockton August 8 and 11 (Detachments). Muscle Shoals August 13. Moved to Jefferson City and duty there and at Glasgow and Fayette until December. Near Cambridge September 26 (Co. "E). In Scotland and Boone Counties September 30 (Detachment). Near Columbia October 2 (Cos. "B" and "C"). Sim's Cove, Cedar Creek, October 5 (Cos. "F" and "G"). Fayette October 7 (Detachment). Near New Franklin October 7 (Detachment). Ordered to Rolla, Mo., December 12, and duty there until April, 1863. Ordered to North Missouri and duty on Hannibal & St, Jo Railroad from St. Joseph to Hannibal and on North Missouri Railroad from Macon to St, Charles protecting roads and operating against guerrillas until March, 1864. Rocheport, Mo., June 1, 1863 (Cos. "A" and "B"). Black Fork Hills July 4 (Detachment). Switzler's Mills July 12 (Detachment). Macon February 12, 1864. Chariton County April 11 (Detachment). Operations against Anderson's, Quantrell's, Todd's, Stevens' and other bands of guerrillas in North Missouri until April, 1865. Near Fayette July 1, 1864 (Detachment). Platte City July 3. Clay County July 4. Near Camden Point July 22. Union Mills July 22. Near Fayette August 3. Huntsville August 7 (Detachment). Operations against Price September-October. Fayette September 24 (Detachment). Near Centralia September 28, Princess Shoals, Osage River, Cole County, October 5-6. Booneville October 9. Glasgow October 15. Little Blue October 21. Independence October 22. Near Glasgow January 10, 1865 (Cos. "G" and "H"). Near Columbia February 12 (Co. "F"). Near Sturgeon February 27. Skirmish in the Perche Hills May 5. Duty in North Missouri until July, Mustered out July 13, 1865. Regiment lost during service 2 Officers and 29 Enlisted men killed and mortally wounded and 1 Officer and 76 Enlisted men by disease. Total 108. Still no mention about the Widow Turner Farm Fight...so I guess your name sticks :>)	cc/2023-06/en_middle_0075.json.gz/line51
__label__wiki	0.642829	0.642829	1964-06-19 - Socializing in the Center Summary: Daire and Jay meet, then Josh joins them for social time in the Community Center. Daire helps out most nights at the community center. He helps unload trucks that come in with deliveries — donations, supplies for the soup kitchen, for the clinic, etc. When there aren't any trucks, he does odd jobs here and there, whatever he can to contribute. For the moment, though, it seems that he's taking a break. In one of the smaller rooms where there are some easels and art supplies set up, one can hear the sounds of an acoustic guitar playing, some simple melody, nothing fancy. Jay is no stranger around the community center since he moved to town about a month and a half ago. A volunteer, though he tends to be rather quiet and stays to himself most of the time, not bothering folks or getting involved with interpersonal drama. With no small amount of regularity does he spend breaks in the small room that passes for the 'clinic', but meandering in that direction this afternoon, his ears lead him astray and the soft 'click-clack' of his flip flops fall subconsciously in time with the song he hears noodling out from the small room Daire's in. Curiously, he pokes his head in, not wanting to intrude immediately. Daire sits over by one of the windows, his feet propped up on the windowsill with the guitar in his lap. He shifts over from one song to another kind of idly, lost in his own thoughts. He's got on a pair of comfortable jeans and a plain grey t-shirt, a sweatshirt with a hood tossed over a nearby chair. Noticing the movement near the doorway out of the corner of his eyes, he continues to strum, but glances up and over in that direction, unnaturally green eyes taking in the figure there and offering a little bit of a smile. Following the sound of the music like a child following the pied piper, Jay slides more entirely into the space of the doorway when he realizes that there isn't some community class going on in the room that he'd be interrupting. The red-headed young man holds his silence for whatever song Daire's playing, one fair hand on the doorframe while he listens, a slight tilt of his head to one side interplaying with the quiet curve to his mouth to give him an overall pensive look about him while Jay watches Daire's fingers on the strings. Appreciating the bit of musical interlude to the day. Eventually the song comes to an end and Daire lifts a hand to wave at Jay from where he sits. "Hey," he says in greeting. "You can come in if you want. There's a few seats not taken." There are no seats taken, to be precise. "Just taking a bit of a break for a bit." He pulls his feet down off of the windowsill and lets them fall to the floor with a thud as he turns a bit. The song ends and on cue, Jay claps a couple of times, then slips his hands into his pockets, leaning a shoulder casually up against the doorframe as he curves a pleasantly polite smile in Daire's direction. "Hey," his voice sways hard with a southern lean, audible even in that single syllable. The express welcome has Jay dipping his chin forward slightly, hiding the broad flash of a grin garnered by Daire's joke. Arching an eyebrow in return with a glance around the room. "Are y'sure? Seems kinda crowded. Ah think Ah left my ticket at home." Still, he shoves off the doorframe with his shoulder and strides into the small space Daire's claimed as his concert hall. The soft clicking of his thong flip-flops hitting his heels, Jay's feet lead him right up to the musician to offer a hand and an easy, muted smile. "Jay." Daire makes a little bit of a chair bow, dipping over the guitar in answer to the clapping, grinning a little bit in amusement which allows a glimpse of those sharp fangs briefly, before they're concealed once more. His own accent is Upstate New York, which ends up being fairly neutral and washed out, not having the emphasis of the city. He glances over at the empty room and says, "I'm pretty sure we can squeeze you in as long as you don't mind sitting in the nosebleed seats." When Jay comes over, he takes the offered hand and gives it a firm but friendly shake, then says, "Daire, nice to meet ya. How's it going?" "Nosebleed is where Ah fit best. So long as Ah can hear the music, Ah'm stellar," Jay carries the joke onward as his hand is given a shake. Returning it with a sincere, secure grip of his own. "Lahkewise, Daire. (Dah-r, as Jay's accent butchers). Not so bad." A couple steps back and a pivot away, it becomes apparent that the young music-appreciator has something weird going on on his back, though otherwise has the gift of seeming rather normal. A splay of large crimson hued feathers hanging out of the back of his long-sleeved overshirt, compressed to two twin tails that hide behind his legs for the most part. Jay snags a nearby chair by the back and spins it around, stepping over to straddle over the back while he talks with Daire, arms folded together across the back. "Yer not so bad with that thing. Y'play much?" Daire watches as Jay moves away, noting the feathers and there's a little bit of a curious lift to his eyebrow for a moment. There's no hiding the curved horns on top of his head that poke out from beneath the tousled black hair that falls into his eyes from time to time. Well, there is hiding them — that's what that hoodie is for, presumably, but within the center he's taken to not wearing it anymore, for whatever reason. Either way, he doesn't stare, just makes a note and then looks back up once Jay's settled himself comfortably. "Yeah," he grins. "I've been playing for the past three or four years, actually. Started out as something to just.. soothe the soul, I guess. Discovered I had a bit of a talent for it." "Ah'd say so, if you've been going on for three or four years," Jay remarks smoothly as he settles in. Sure, his far more naturally colored green eyes follow the curvature of those horns for a moment, but the glance doesn't linger, even if his smile does eke upward a titch. "Y'moved between pieces real smooth, that was nahce. Had t'find peace somewhere, so you picked up the guitar?" Gentle smalltalk, but his interest is genuine, easily holding Daire's gaze, utterly guileless. "She's good fer that. You got a favorite song?" "Some friends suggested it. Said I needed to find something that'd help me focus, but meditation wasn't really doin' it. Music turned out to be the thing," Daire says, idly strumming a little bit, nothing in particular though, just plucking out a few notes. "Some people run, some meditate, I play the guitar." He studies the strings for a few moments and then begins to strum and sing along. His voice isn't half bad. He won't be winning awards or bringing down the house, but it's got a quiet smooth quality to it. https://youtu.be/GXjn_z4UrxI "Meditation wasn't somethin' Ah could get behind," Jay admits in agreement, his attention falling back to the strings while Daire noodles his fingers idly along them. "Someone told me that music's got a relation t'math because of it's structure. It's bones. But a good musician knows how t'/feel/ it, too. Gives ya structure an' freedom at the same time." Peaceful idly thoughts on musical theory. Daire begins playing again the first notes making the pale young man smile, his gaze lifting to Daire's for a long moment of transpired warmth. Red lashes lower along with a dip of his chin, bowing his head to listen. Serene. Jay's fingers move slightly, braced against the back of the chair, barely twitching against the worn down metal on the seat. The lump beneath Jay's overshirt expands slightly, slicking back down a moment later. By the second verse, Jay takes a breath and very softly sings the harmony to Daire's lead, following along handily with a warming smile written into the young man's expression. The music is simple with just a guitar, but Jay's appreciation is genuine. "Music you can't feel doesn't have any soul," Daire says with a little shake of his head. "If you can't feel something in it, you're kind of missing the point." He then settles into the song. Jay'd asked if he had a favorite song. That was it. He looks over toward Jay and smiles a bit, watching the twitch of his fingers. When the harmony gets picked up and Jay starts to sing along with him, that grin only broadens. Just the sound of the guitar and two voices come from the room, quietly carrying the melody through the halls that are, for the most part, empty, stirring and banishing the silence there. One or two people walking past the doors on their way here or there pause for a moment or two to listen to the music before continuing on their way, perhaps with a little bit of a sway in their step, or finding themselves humming later. When the song eventually drifts to an end, Daire is quiet for a moment or two before he asks, "You play?" He nods to where Jay's fingers were moving on the back of the chair. Jay keeps his eyes closed and head slightly bowed throughout the song, his voice clear and following Daire's lead easily with no urge to overpower his voice, the young man's smile serene and warm as it comes to a close. The final lingering notes are left alone to resonate peacefully before Jay inhales a deep, clearing breath and lifts his attention back to the other man, holding on to notes of that warmth. That smile turns a touch abashed, Jay nods, a whisper of friction as feathers rub together around him, trembling down his back. "Ah do. But Ah appreciate hearin' others at it. Simon an' Garfunkel. Cool. Ya do well with that one, some folks struggle with keepin' things smooth an' intricate. Ah'm impressed." Daire grins a little lopsidedly and gives his shoulders a slight shrug. "That one kind of resonates with me on a number of different levels," he admits. "I've practiced it a lot." He pushes a few strands of hair back out of his eyes and then adjusts the guitar a bit, though he doesn't play again for the moment. Instead he asks, "What do you play? You sing well. Not everyone can just pick up a harmony mid song like that." "Does it?" Jay perks up and refolds his arms comfortably around the back of his chair, leaning forward comfortably, his interest genuine. "What do you lahke about it? Ah lahke hearin' from folks what resonates with 'em. You love that song. Ah can hear it." His smile brightens for a flashing moment, rising and falling with a spike of modesty with another glance downward. "Thank y'kindly, man. Ah used t'have a band back home, so…practice, I spose. Ah can play bass, drums, piano, banjo, but mah first love was the guitar." Those warm forest-green eyes lift back up to meet their more brilliantly unnatural counterparts. "S'why you caught mah ear. You sound good." Daire is quiet for a few minutes and then he kicks his feet back up on the windowsill, leaning back a bit and tapping fingertips on the surface of the guitar, making a hollow sound. "I was kinda fucked up for a while, when all of this," he gestures a bit in his general horn-to-fang area, "really started coming out, when I couldn't control it and stuff would just happen. I was kind of out of control for a while." He takes a breath and then lets it out slowly, "I only really felt at home in the dark, on the streets, alone. I held a lot of stuff in. I let the fear of what I was, who I was, what I feared becoming.. silence me. I had so much anger, and fear inside me, and I encountered a lot of it in return. Got in a lot of fights. Music helped. Friends helped. I found my ''voice'', I guess, in the music. Started talking about things. Started figuring out who I was, and that it was okay to be who I am, what I am." He looks over at Jay then and grins a little lopsidedly. "And the song reminds me of what it's like to be a Mutant, and all the rallies and everything, Mutants needing equality, rights, to be treated like people. You can't help anyone if you stay silent, if you don't reach out. It's easy to be silent, you know? Just let things happen, not be a part of it. I didn't want to do that. So I started helping out here. Started helping out people on the street." He then grins a little, "I still like the night and the darkness better, where folks can't see me. I got used to being okay with me, but I'm still.. a little.." he hand-wobbles a bit, "about others seeing me." Then he chuckles, "Shit, I'm rambling like hell. Sorry." Rambling or not, Jay is utterly silent while he listens, his head slightly tilted to one side and no inclination to stop Daire in the middle of his story. Jay's gaze flickers upward as Daire's fingers flick toward his horns and fangs, a small smile of understanding touching his lips. It's a familiar story, though every one is a little different. Every mutant can relate to some degree, even if they didn't fall very far, especially here in Mutant Town. He laughs softly, lifting his fingers a bit when Daire apologizes. "Yer not ramblin'. Ah asked you a question. People's stories are important things, like you said, it's easy to be silent." Jay hazards a gentle grin. "People talking without speaking, People hearing without listening, People writing songs that voices never share, And no one dared disturb the sound of silence." Jay recites those lines, nodding a few more times. "Ah can dig it." His eyes smile, turning into crescents of warm earthy green. "Ah think a lot of us feel better not bein' seen." He shrugs and juts his chin behind himself toward the large looming things over his shoulder, covered up by his denim shirt. "Ah've only taken this shirt off twice in public since Ah moved here. Mutant Town, over with friends, doesn't matter. Ah keep this thing on, even if Ah'm still pretty damn obvious. Can Ah ask how long since you changed?" Daire grins a little in return when Jay brings up the lyrics again, nodding his head, "Yeah, that." He says, "I promised myself that I was going to try harder to just.. let people see me. I know who I am, now. I know what's in my heart. If people look at me and see something they don't like, then that reflects more on them and their unwillingness to get to know me than it does on me. But that's something of a recent development. Hell, up until a couple of weeks ago I was still slouching around even in here, covering myself up." He admits it with a slight rise and fall of his shoulders. "We've all got growing to do." Then he glances over Jay's shoulders and he grins a little bit. "I've got wings," he tells him, then. "Not.. right now, but .. when I do the whole change.. or even partial. Mine are like a bat's though." At the question he says, "Well, the eyes went when I was around thirteen.. and then through puberty, fuck, I'd sprout claws and fangs pretty much every time I'd get pissed off.. but I got that under control enough to get through highschool and college. Unfortunately, it didn't stop there, and as I developed more.. I lost control more, and some things, the fangs, the horns, they started to grow and eventually by the time I was in my second year of college they were permanent. That's when things got real messy. I'm told it'll probably keep happening, or it could stop if I don't keep growing into it. Guess we'll see." The explanation of that promise that he's made himself, and how Daire's coped and fallen and pulled himself up makes Jay smile while he listens, nodding mildly between. "Ah know what you mean. More 'n' more Ah been hearin' folks who feel… /ugly/ or alien in their own bodies. They're all in the same boat. Everyone's so busy feelin' like they're gonn assault someone's senses, they don't seem t'notice that we're all raght there. Ah feel like a damn hypocrit tryin' to bolster folks when Ah'm slinkin' around covered up, but," Jay shrugs gently. "Just not there, yet." Though he seems comfortable here for the moment, talking with Daire, entirely normal and bright eyed with his fellow musician. The mention that he has wings that appear and disappear makes Jay perk up a little, his spine straightening a bit and eyes brightening, then widening when he describes them as batlike, brows lifting upwards in surprise. "Lahke a bat? Dang…so, you get the whole nine. Fangs, claws, horns, wings…" Jay tilts his head slightly, peering around the other man, quickly catching himself to correct himself. "D'ya got a tail?" "You gotta do what you're comfortable with, and come around to it. I try to help, you know? Make others feel comfortable, with themselves, but in the end you can't force it. You can try and open a window and let a little light in. But honestly, everybody's got to pick themselves up and take a look through it," Daire says with a small nod, lost a little in thought for a few moments. "You just hope that eventually the light'll get through." There's a small shake of his head and then he comes out of whatever thought he got caught up in. Looking back over to Jay he nods, "Yeah, leathery instead of feathery." Then he mirks just a little bit and nods, "Yeah, I got a tail too." "Sorry, Ah'm being rude as hell," Jay scoops a hand up through his hair, scattering his hair to frame his face as it falls back into place, hints of color spreading out from his ears and into his cheeks. "That's boss, though. Ah gotta admit, Ah'm envious that you don't got yer wings all the time. They ain't exactly discreet." The hump on Jay's back expands slightly, straining against denim, testing the seams of his shirt. "Ah've got another friend who can do that. Hers get outa control when she gets emotional as well. An' a friend who'd be damned jealous of yer horns." Jay's eyes flit upwards, following the curvature of Daire's horns nestled away in his hair. "They suit ya. Ah mean, Ah just metcha, but…suit you." Dropping his attention back to the musician he's interrupted with a light smile. "We're all jus' lookin' fer the light at the end of the tunnel. Just gotta keep pushin' forward until you find it. Not give up, even when things seem dark." Pale fingers rub against the back of the chair he straddles over, there seems to be a thoughtful moment somewhere there as well as things fall quiet for a couple beats. "It's…real cheesy, but you wanna hear th' song that helps me out?" Daire shakes his head and says, "Nah, not at all." He doesn't seem to mind at all, actually seeming pretty relaxed and at ease as he talks to Jay. "They hurt like a sonofabitch when they come out though," he says, "It isn't all fairy dust and sprinkles. It's bone tearing through flesh and all that. Fortunately it seals itself up alright, just a bit sore and tender after the fact." He nods then when he mentions knowing someone else whose wings get all outta control. It makes him grin a little, "Well at least I'm not alone in that." He reaches up and rubs a little bit at the base of one black horn. They curve upward and then back, dipping a little before curving upward again, spiraling a little bit, and black, glossy. "First time I've heard of anyone bein' jealous of the horns though." That's definitely a new one for him. Then he grins over at Jay and says, "Yeah. I'd like that." He holds out the guitar then, entrusting it to the other musician with a smile. "You can play it if you like." "Jesus…" Jay blasphemes under his breath as Daire explains how his mutation takes shape, an empathetic cringe flickering over his malleable features. "It's funny how many similarities y'can find with folks when y'start askin' around." Jay's attention lifts when Daire reaches up to touch his horns, following the path his fingers take with a softer curve to his smile. Blinking as the guitar's handed in his direction. "You sure? Ah wouldn't dream of touchin' a man's guitar any more than Ah'd touch yer lady." Though if Daire's certain, Jay smiles leans back, then gets to his feet so that the instrument isn't blocked by the back of his chair. His fingers idly play along the frets for a bit, getting accustomed to it and those small differences, explaining as he goes, "Ah've a friend who's part saytr. Ah guess that horns're supposed to be significant but he ain't got 'em. He'd be /green/." Jay's brows lift gently, smiling sheepishly. "Y'ready?" "You get used to it," Daire admits with a faint grin. He nods then and says, "Yeah.. I'm starting to figure that out." But then he is handing over the guitar and he says, "No lady. Just the guitar. So you be even more careful with it," he says with a mock-warning, and a little smirk that shows that he's not too terribly serious. He's certain. He rocks back in his chair, folding his arms in front of him and relaxing back to listen to Jay play. He chuckles a little then at the mention of the satyr and says, "Yeah, I guess I could see that." When Jay asks if he's ready, he nods and falls silent, giving the man his full attention as he gets ready to play. Josh hasn't been in the Center today, having spent most of the day at the Institute, but he got a call that someone needed help. Its not long before he's there and in the clinic, and a man is there pale from blood loss. He got stabbed, see. Its not a big commotion or anything, so no reason anyone else in the center would be aware of it — the person manning the clinic knew first aid and how to get things stabalized. So, the healer is in, lays golden hands, and within a minute everything is back to normal. He's off for coffee, and on the way back he happens to hear music, so he goes to investigate. A golden guy peeks his head into the back room. In one of the small side rooms used for any number of things (though currently seem full of spread out markers on chipped and held together tables), music has been emanating quietly. The accoustic guitar naturally /calls/ to Jay like a moth to a flame, unsurprisingly the red-headed young man is there, standing in front of Daire with a guitar in hand, one foot lifted onto a backwards chair he formerly occupied. A couple of experimental strums, Jay chuckles softly, a whisper of sound. "Ah'll be extra careful with 'er, then." A deep breath and smooth roll of his shoulders backwards, the red-headed musician launches into a much more upbeat rhythm than Daire had offered in exchange. Toe tapping on the chair, Jay bows his head for a few bars os instrumental, quick strumming before he breaks into the lyrics. The voice that comes out of the young man's mouth is /not his/. It's absolutely a feminine voice, though it's no crazy high soprano, a low and earthy alto, but still feminine. Only for the first couple lyrics, then his voice splits and Jay sings a duet with himself, harmonizing in ways no ordinary human can, weaving in and out throughout the song. Getting into it with a little bit of sway as he works his fingers on the frets quickly, Jay's wings eke out slowly, but by the end of the song his shirt has climbed up his back from the strain of those large extra limbs trying to spread out from under their cloth sheath. https://youtu.be/va7aW1_KxP0 Daire grins a little bit when Jay promises to be extra careful with the guitar and gives him a thumbs-up. But then he falls quiet to listen, grinning a little more broadly at the upbeat tempo of the music, Jay's selection being a little bit faster paced than his own. But he finds his head bobbing along until the voice that comes out of Jay's mouth isn't his. Those eerie green eyes widen and he blinks a bit, then says, "Holy shit, that's cool…" and he laughs a little, then realizes he's interrupting and clears his throat, color touching his ears briefly before he's quiet, just watching and listening. Just as Jay did, he joins in, singing toward the end, finding a third voice to harmonize with Jay's duet. Once again, his voice has that smooth quiet quality to it as he sings, maybe better suited for mellow songs, but he manages to keep the upbeat tempo toward the end. And when the song finishes, he gives Jay a round of applause. It's only then that he notices the head peeking around the doorway and he grins, "Heya." Josh stares at Jay with golden eyebrows that try very hard to climb up and claim king of the hill over his head: is he — what the heck? He does not attempt to join in. Josh singing is… painful. He is completely tone deaf, as at least one of the pair likely knows. But he looks between the two of them, a little startled to see the pair here at once, "Daire… Jay… uh, hey." Blink. He sips his coffee after a quick yawn, and then adds, "That… was beautiful. Amazing, guys. Jay I didn't know you could do — whatever it is you do with your voice there, man." When Daire compliments his voice out of the gate, Jay grins widely, head still bowed and trying not to laugh, he presses through, glancing up through his hair at his small audience with humor resonating as strong through him as sound does through the instrument. Nodding encouragingly when Daire joins in on the upbeat tune, Pauling it up to Jay's Peter and Mary, they have their own little jam session. Whispers of chuckles emanate quickly from Jay by the end, he holds a pale hand out low toward Daire for a low-five of self-congratulations for a job well done. "That was boss. We gotta jam t'gether some tahm." Looking behind himself when Daire addresses the doorway, Jay very quickly slicks his wings down once more when he realizes how wide his mantle has gotten, his face flooding with color when he realizes who's there. "Hey, Josh." He swallows and dips his head slightly, still nearly glowing with the feeling of that music humming through him. "Thanks. We never really…talked about what Ah can do past, well you know." A quiet smile still written on his expression. "It's, uh, part of mah primary mutation. Screwed up mah vocal chords so now Ah can…split m'voice? Ah don't know the science of it. But I can well mimic just about anythin'. Harmonize with m'self." He shrugs gently and turns back to Daire. Rubbing the edge of his shirt on the fret bar quickly for some weird reason, he hands the guitar back carefully. "Thanks." Daire gives Jay the lo-five and says, "Definitely. That's gotta be a thing," agreeing on future jam sessions, clearly thinking his is a good idea. He reaches out to take the guitar back when Jay hands it over and drops it back into his lap, strumming a little bit idly, quietly though, so as not to interrupt the conversation. "It's pretty damn cool," he says again, this time not interrupting the song. Then he glances back over toward Josh and asks, "How're you doing?" The tune that he strums out is Take Me Home, Country Roads by John Denver, but he doesn't sing, that would kind of hamper the conversation. His foot taps a little though as he does. Josh gives a long look to Jay's wings: for all their heart to hearts, he hadn't ever actually seen more then a bottom feather of those wings, and so he looks a bit awed by the sight. He has to blink, and laugh softly, "I'd ask what the heck splitting your voice has to do with having an avian physiology, but hey, as far as I can tell there's no reason the black and gold have anything to do with healing, either. Evolution is crazy sometimes. Oh, hey, you're a songbird." He suddenly gets it and grins, looking curiously between the pair of them. He nods to the guitar, "If you guys wanna jam now, don't let me stop you. I can leave you be if you don't want an audience. Daire's always been talented." He pauses, and nods an aside to Jay, "Daire here was my dormmate in college. Before anyone knew I was a mutant. Small world." But he adds with a nod to Daire, "Good. Relaxed. You both good? Anyone need anything?" Jay shrugs his shoulders backward when he notices Josh's gaze lingering on the eked up edges of his denim shirt, fitting rather awkwardly on him with that skewed angle. Reaching back to faintly tug at the edge of his shirt with an embarassed smile at his friend. "Bert says that birds and harpies got weird vocal cords so they can make more than one sound atta time. Though, uh, Ah'm prettier than a harpy? Ah guess? Ah've never seen one." He shrugs and shakes his head helplessly. Color /rushing/ to his face with a breathy chuckle to follow when Josh calls him a songbird. "Oh man. Clearly, Ah picked the wrong name. /That's/ real masculine, huh?" Scrubbing a hand over the back of his head, there's a crooked smile back toward Daire. "Oh yeah? College? You mentioned y'went, Ah didn't realize you were Josh's roommate. You got any good embarrassin' stories?" Shifting back toward Josh, he straddles over the back of his chair again, folding his arms along the back comfortably. "Y'don't have to leave, though…you look kinda tired. It's a little late fer ya isn't it?" "Nothin' wrong with being a songbird," Daire says as he continues to strum a little bit, shifting tunes over to another Peter, Paul, and Mary tune. "And if we're going between bird and harpy here, I'm going to vote for bird." He grins a little over at Jay, "Could call you Blue Jay, but you're red. Cardinal?" There's a little sparkle of amusement in his eyes, but then he's looking back down at the guitar, watching his fingers as he strums. He shakes his head and says, "What happens in college stays in college," lips twisted at the edges a little wryly. He glances over toward Josh then and says, "You're always welcome. I happen to like your company." At the name thing, Josh grins and laughs warmly, shrugging his shoulders, "As far as I'm aware songbird is gender-neutral." He winks, then speaks to his tiredness: "Benny O'Toole got mugged and stabbed. The uh, let's call them my nurses knew enough to stabalize him but he's… not the sort you take to a hospital. So they called me and I came down to healing. He lost a lot of blood. To replace lost blood… is actually one of he harder things to do. Its not that blood is complicated: its that I have to pour a lot of energy into the bone marrow and set it going on hyperspeed, and there's a limit to how much material there is to make blood out of. Its exhausting. I'll be fine after my coffee." Josh lifts his coffee up with a quick grin, but heads over to plop down in a chair. "I like Cardinal." he agrees, and flashes a grin and a nod for Daire about college stories, though he never looked for a moment worried. Either he was a perfect angel, has no shame, or trusts Daire's confidence — pick one. "Aww, feelings mutual, Dai." And he sips more coffee. The shift of song couldn't come quick enough for poor Jay's heart strings while he watches Daire's fingers over the strings, as if he'd found some magical resonance to the center of the young flier's soul. He sniffs swiftly and plays it off with a quick touch of a smile. "Name like 'Songbird' an' mah brother would kick the shit outta me," Jay remarks with a soft laugh and shake of his head. Groaning over at Daire when he takes the obvious route, eyes full of warm mirth, like broad leaves under the summer sun. "That make you Batty, Daire?" He flashes a wink in the other man's direction. "See if y'stay mute after a couple drinks some day." Inhaling a deep breath which sends a ripple all the way down his covered wings, the long tails of those primary and secondary feathers shivering and whispering behind him as they brush the floor. Frowning at the news on Benny, Jay dips his head and slumps forward casually, scooting his butt back on the seat to rest his chin on his folded arms. "Ah'm hearin' more muggin's lately. They caught me about a month back. Rose scared 'em off but had a busted up bottle knahfe an' the whole ten." Jay blows out a breath and smiles softly over to Josh, clearly distracted a bit. "Ah got a name, Elixir. But if Ah feel like changin' it, Ah'll be sure to consult you both on it. Lady Ah met last week was bound an' determined t'rename me, too." Smirk. Daire smirks just a little bit at Jay and says, "Cassiel. But you can call me Batty if you like." He doesn't seem to take offense. "Though I'm calling you Songbird if you do," he warns with a flicker of a grin in Jay's direction, shaking his head just a little bit. He raises an eyebrow and asks, "Is that a challenge?" He looks over at Josh and says, "That sounded like a challenge." The mood grows a little more serious though and the guitar quiets as they talk about Benny. "Glad to hear that he's doing alright now," but it's Josh that he's looking at with that flicker of concern, before he grins over at Jay. "Hey, it's all in good fun. Your name is your own, though." "Man." Josh says to Jay with a soft laugh, "Believe me, I was the key to every party and kegger that was within miles of the university: every one. Do not think I dragged Dai here along to be a safe ride home. My goals were far more altruistic: to get him laid and loosen him up to enjoy life. But, I know exactly how he handles his alcohol: those were not sober times, man." He grins, and nods in agreement to Daire, "I think that was a challenge, I do indeed." But his eyes become serious, and he nods to Daire, and makes a vague 'its nothing' gesture at the look of concern. He's fine. He offers a smile for Jay, "Just teasing you, man. Your name is your own to pick. The songbird thing is less a codename and me just suddenly going, oh! I see the connection between what first baffled me as two traits in a mutation that seemed unrelated. I find most mutations — not all but most — are related. At least, primary ones. I… still haven't figured out how to read what a mutant will be, though I can activate it if its dormant. Didn't mean to offend or imply you were unmasculine, man." Surprise very clearly colors Jay's face as recognition makes him immediately murmur, "Angel of Solitude?" Something else slowly sinking in with a gentle smile as Jay pulls on that thread of memory what he knows regarding the Archangel. There's a sentimentality to the young man's expression while he regards the fellow with the horns, though he says nothing immediately regarding the internal file he pulls up on the figure. Instead Jay blinks and glances down to the guitar with a whisper of a laugh. "M'momma calls me 'Jaybird', unless Ah'm in trouble, then Ah get the first-middle treatment. But she called me that b'fore these things." Thumbing back at the ever-present shadows over his shoulders. Lifting his gaze back up to Daire, he states, mildly. "Icarus." By way of short introduction."An' that is absolutely a challenge." Jay's attention swimming between the two men with a history, stilling on Josh. "Ah was pickin' on you, Josh. Ah'm startin' to think Ah need ya t'do a couple keg stands before you stop bein' so serious." His smile is serene once more, resting the side of his face against folded arms. "Yep. Mutie doc tells me Ah'm a near carbon copy of some other guy he's seen, but the voice thing confused him, too." Daire looks over at Jay, studying him for a moment or two when he recognizes the name, and there's the slightest dip of his head, but nothing verbal beyond that. "Yeah, I remember getting that a lot when I was a kid. If you got to all three names you were in for some shit." He chuckles just a little bit, not seeming too concerned though. He either didn't get into too much shit, or he got into enough that he'd gotten used to it. There's a dip of his head when Jay introduces himself. "A challenge it is, then," he acknowledges. Then he looks over toward Josh and nods in agreement, "He tried so very hard. He did take me to a whole lot of keggers and parties. Those were not, indeed, sober times." He chuckles just a bit at the memory. It seems to remind him of something, and he gets up, walking over to the guitar case and he takes a manilla envelope that is sealed out of it and he brings it over to Josh, handing it to him. "Open it later. I wasn't thinking you'd be by the clinic tonight but.. since you're here." Mention of family has Josh just … looking away, his golden face hardening a little bit. But he breathes, and drinks back his coffe, and nods, "Icarus." Pause, "Wait, that's the kid who flew too hide and fell to his death? And you're concerned with masculinity?" He can't help but laugh, though he clearly means no offense by it. He nods to Jay, "I'm too serious." he admits freely, "Dai said as much yesterday. It's true. The funny thing is I didn't used to be anything like it. Before Bucky killed me? I think I was less. At least, when I wasn't gold. I'm still trying to get used to this as I've told you both. Being super boring and serious is best-case for me right now, but believe me, I encourage you both to try to knock my head back and get me out of the mood." He nods his head to Daire's memory, grinning, "Those were the days." A wistfulness touches his features: when he was 'the golden boy' only figuratively, the most popular guy on campus, the ace student, the athlete. Half the campus loved him and half the campus hated him but pretended not to be. But, he blinks out of the reverie by taking the folder and giving DAire a curious look, tugging it open to pull it out and look at what is inside, "Yeah I was not planning, but emergency—" Jay exchanges looks with Daire over the name, but he doesn't say more on the subject for now before levity is reintroduced to the conversation, whispering a soft chuckle, little more than a shake of his shoulders and little sound. Though, the manilla envelope gets a curious look. He doesn't pry, however, actually averting his attention back towards Daire to try to rid himself of the temptation when Josh /opens it right there/. "We know, Josh. Ah got a feelin' yer in good hands with Daire 'round. He seems cool." Daire smirks as he says open it later and Josh goes right ahead and opens the envelope anyway. There are what appear to be a few black and white photographs inside. "Now is not later," he mutters as Josh goes rooting around in the envelope. He wanders back over to the guitar case and sets it down inside then, carefully wiping it down with a cloth contained within, and then shutting the case, setting it up onto its side. He grins over at Jay and says, "Oh, I have no intention of letting him be glum. Not if I can help it." Then he says, "So.. we gotta jam again.. and we gotta find something for Josh to play. What do you think? Cowbell?" He flashes a broad and sharp grin. What is all this later talk? Josh knows one for years, one less, but sees no reason to be cagey or not just trust either of them. Then again, its not that he shows the pictures around, either. But he looks at them. Absently as he looks at the first picture he remarks, "Glum, bad. Josh, triangle, good." And he flips to the seocnd. His brow furrows, "Yeah Dai is cool, Jay. He's one of us. Trust me on anything at all ever, its that Daire here, is one of us. Also, vice-versa, Daire. Jay and I don't see eye to eye on some things— but I don't be begrudge him his beliefs— but no matter that, I'd trust my life in his hands, too." he agrees, then flips through the last two, and back again, and forward again, as if comparing those last two. He slips the pictures back into the folder and looks at Daire, and his head tilts, "I don't understand." Trying hard not to peek over at Josh, Jay rests his head on his arms to turn the other way, tracking Daire with his eyes as he puts the guitar back in its case. He smiles, smooth and easy. "Ah got a tambourine Ah brought with me. Can ya tamber, Josh?" His gentle smile expands until it splits into a serene grin, then fades back once more like the pull of the tides; a single dimple appears briefly, low on his left cheek. There's a gentle shrug of one shoulder, he explains mildly to Daire. "Ah got some problems, uh…reconsilin' some things Ah'm seein' round here fer the first time. Josh thinks Ah'm willfully bein' a hypocrite jerk. Ah think he's bein' unempathetic. But, Ah got his back. No matter what." To Josh's confusion, Jay sits up finally and dares to glance his way. "Triangle sounds good," Daire says with a little bit of a chuckle, and he shakes his head a bit, pulling himself up once more. He grabs the guitar case and looks between Josh and Jay, nodding his head. "Not that I didn't already come to the conclusion that you were good people, but if Josh thinks you're good people — then I definitely can't argue that." He looks over at Josh as he looks at the pictures and then slips them away. He considers the response for a moment and then he nods. He moves then toward the door, giving Josh's shoulder a squeeze in passing. "It's alright." Then he lifts his hand and waves to Jay, "It was great to meet you, man. I'm gonna head back and crash, though. I gotta swing by the store and grab a couple of things on the way home before it closes." To Jay, he says, "We all struggle a little sometimes, sorting out things we're not used to. Whatever they are, I'm sure you'll figure it out." He then moves to duck out. "I have rhythm— I can dance, I can absolutely dance." says Josh with the simple confidnece of someone who goes out dancing regularly— which he hasn't done for years. But that was college. "So a tambourine, sure. Its my voice that is an alien. I can't hold or match a tune. At all." He eyes Jay then after a moment, frowning, "I never called you a hypocrite and I hope you don't really think I'm unempathic." BUt Josh is being super serious again. Then Daire is leaving? And Josh is not understanding. "Hey, wait, I don't see the connection, man. That's not all right. We're out and about in college, I'm thinking around here, then I'm then and now looking about the same. I don't understand. What's that all mean?" His gold face seems genuinely lost. His friends are turning on him! In entirely different ways but which are a little vexing both. "Stay safe, Daire. The world's crazy out there," Jay advises with a genial dip of his head. "Hey, let's plan a trip t'the eight ball some time. Take you up on that challenge an' they got open mic nights sometimes. We can jam an' not worry if Ah get all excited an' explode feathers all over folks. They don't seem t'care that Ah'm under-age, either." Still unaware that the drinking age in New York is different from Kentucky. Josh tries to get more answers from Daire and there's a curious look sliced between the two as he falls quiet. "You can definitely dance," Daire confirms. He has witnessed this first-hand and can attest. Then Josh is becoming super-serious again and he says, "Really, it is alright. They're just photographs. I took them, well, three of them, obviously I didn't take the one I was in." He then says, "Gold.. it's just a color. I just wanted to show you.. that you're just as .." He pauses for a moment and then says, "you, as you were then, and when you stop thinking about the color, for just a moment.. there's not much difference there. A few years, and that's about it. I just found the pic with you at the desk and I thought it was kind of cool how similar they were when I was going through some of the older pics I had. From everyone. I wasn't just like creepy stalkering you," he says, realizing suddenly how that might sound kind of creepery. "I have a lot of pictures from back then. From parties, picnics, you know.. the whole nine." There's perhaps the faintest hint of discomfort as he tries to figure out how to explain, shrugging his shoudlers slightly. Then he says to Jay, "Definitely. Open mic night at the eight ball sounds great," with a slightly easier grin. Josh regards Daire for a long moment, his brow furrowing, and he looks down again at the photographs. "Dai, man. You'll never creep me out if you tried." he says softly, "So relax. I… appreciate the gesture." He nods, lifting a hand up and considering the gold of his skin quietly until he speaks, "I maybe focus too much on how different I look now and maybe that's me being a fool, and I take your point. I'm me. I'm not less me then I ever was. I'm just not.. used to it yet." His hand touches to his forehead, rubbing there, "I'd be interested in seeing any pictures you have, man. Not to get all sick on nostalgia and wishing I was that guy then— I accept I'll never be that guy again— but just to smile and remember." Then he looks between the two, "Hey, no open mic nights without me. I'll play the trambouline or triangle. Or more likely just watch and enjoy how amazing you both sound." A corner of Jay's mouth lifts slightly, lopsided from the rest, then falls again while he watches the two friends interact. "Don't be so hard on yerself, Josh. Ah don't know…Ah heard someone say recently that we all struggle a little sometimes with sortin' out things we're not used to." Jay's lips press together a bit, suppressing a smile as he steals Daire's recent words, eyes dancing. "Fine. The three of us out on the town. Ah'll make sure you two don't get too outa control." "You're not a fool," Daire says, "Now, I bet with enough alcohol and a tambourine we can make a real good shot at trying…" moving right past slightly awkward back into humor with a little sidelong grin. "Oh, you're going," he tells Josh. On this, he is firm. When Jay steals the words that he'd spoken earlier, he glances over at him and raises an eyebrow, chuckling just a bit. "Uh huh." Then he says, "Alright. That'll happen. Soon. Maybe later this week. But now.. I really gotta run." He glances at his watch, "Otherwise it's dry cereal and beer, and really, no. Just no." He grins and says, "Night," and then he's heading back out into the hall. "Someone did say that, I think." agrees Josh with a nod to Jay and a smile, and he looks between the two of them, "Yeah, we'll go soon." he agrees to the general principal before turning a grin towards Daire, "The advantage of my power is I never get more drunk then I intend, old friend. " He lifts a hand to wave, "See you later. If I'm asleep when you get back, wake me up. Talk about some old times, yah?" He lifts the folder of photos, "Or maybe just over breakfast." He looks to Jay, "But really, I'm never out of control, man. I sometimes think its a flaw and not a boon, but, it is what it is." Jay reaches over to the table where Daire left his sweatshirt and tosses it underhand to the man on his way out. "Get outta here, man. And stay safe." Resting his arms back on the back of his chair, he shrugs slightly. "One-a those things about bein' aware of yer body chemistry at all times, Ah imagine. Y'can't help it. No more than Ah can help some of my little…weird things since mah mutation , uh…manifested? Ah dunno what the word'd be." Daire goes home. As Daire leaves, Josh watches for a moment, considering, and glancing to the folder, and after this moment he stares longingly at it for a time, but then he blinks and shakes his head and looks back to Jay and smiles. "Yeah, its like that. Most of it is just— instinct. I don't specifically, consciously change — but … before I was gold… I had a perfect tan, my body was exactly as toned as I wanted, I woke up without hangovers no matter what I drank the night before. Now I realize what I'm doing, but then— in college— I didn't. It was instinct." Bu then he nods his head more seriously, "Yeah, you can't help your own changes. Evolution has changed you. Its amazing. You are just…different. And amazing. That is what it is to be one of us. For me, the gold. For you, the wings. For Dai, the horns. We're all beautiful and different and people look at us and hate us but we are what we were meant to be." Jay is staring out the doorway that Daire left out of for a while as well, his expression actively pensive as he lays his head back down on folded arms. Staring off into the empty hall now, he's still listening to Josh, however. "Ah've loved music since b'fore Ah could walk. Momma said it was God's plan fer me t'sing lahke an angel. With all the weird, mah mutation randomly gives me his useless ability t'mimic things. T'let me make more than one sound. Ah met a lady with power over ice. Her old man sold refrigerators. Sometimes it's all too coincidental t'be coincidental." Jay murmurs thoughtfully. "But we ain't exactly the same, either. Ah've always been…more or less, me. But it translates different, now." He squints out the doorway, a little twitch of his brows together while he struggles for words. "Ah'm not great with words. Too many words." He sighs and frowns mildly. "I don't know anything about music." admits Josh with a light shrug of his shoulders, "And I don't believe in god. Why do you think mimicing is useless, though? I can think of countless situations where it would be useful. Especially if you study and learn to throw your voice. But even if you don't… its a gift. An adaptation. You'll find a use for it, the marvel of it." He shrugs then, and he lifts his hands, and he stares for a long moment at his golden skin, "You speak as if there's a design to our mutations. An ice lady who lived off refrigerators. You with the voice of an angel becoming an angel. Me, a doctor becoming a healer." But he drops his hands, "What of Dai? As kind and gentle a person I could not otherwise name, whose power is to become like unto a demon. Scott. Thoughtful, considerate: who releases pure destruction from his eyes. Jay, You're seeing meaning in coincidence. I understand why you might want to, but stop looking for reason, and start looking for will. Look for what you choose." He shivers a moment, "It is in my power to kill or to heal. I chose once because I believed in a cause, one way. Now I choose another way. My ability simply is. If I am a monster or a saint is something that people will decide long afer I'm dead based on what I do. The same goes for you. Don't look for meaning in chance: instead look for what you can choose to make of chance to bring and cause meaning." "You're being rude," Jay hums quietly as he peers past the doorway, inhaling a deep breath while he pushes up from his laying spot on his arms, finally pulling his eyes away from the doorway to regard his friend once again. A gentle smile curving his mouth kindly, though it's hemmed with a maudlin overcast. "It's okay not t'understand everythin' raght away, Josh." There's a tilt of Josh's head a moment, and he regards Jay for a moment, then the empty door where his friend went through. "First of all, I never pretended to understand everything. Fuck me but the things I don't understand in life or the world vastly outnumber the things I understand on any given day, let alone in life in general. That said, I've been doing this for awhile." he shrugs, "And the one thing I treasure most about friendship above all else is: who else will be rude to you when it matters, but your friends? Politeness is what you do with strangers: with your friends you can trust them to be true— and when need be— rude— with you." That says, he takes a long drink off of his coffee as he watches Jay, "You're not, you know, into Dai are you?" he asks casually. Whatever 'important' stuff they were talking about before is derailed for that final question. Jay leans back in his seat with his hands braced on the back of his chair, his whole face screwing up for a moment. "What? Ah ain't fey so Ah can't be into him. You know that." His wings twitch softly, whispering gentle aggitation as Jay folds his arms on the back of his seat in front of him again. "There's just somethin' Ah like about him. Can't put m'finger on it. It's funny you two are so close." Pause, something occuring to him, a little delayed. "He wasn't…someone you dated back in college, was he?" Josh's expression is… considering. Little else is revealed in his golden features. "Dai and I only recently reconnected, but he's the only friend at all I therefore have from that time, but if I were to make choices, I'd pick him above any other to be my friend today. I don't know why we grew apart: likely our lives. I was going into med school, he was changing." But then he shakes his head simply, "We were dormmates in college: he was shy. I tried ever so hard to get him out of his shell, to show him the joy in life. We did not 'date'. He never showed any interest in me at all: but oh, I made it a mission to try to find him someone." He's wistful in tone there, and he shrugs. And despite that nothing he says likely rings untrue, something hangs heavily unsaid. "Its fine to be drawn to someone, Jay. It doesn't mean you're fey. Its just…" His voice trails off, "I don't want to see either of you hurt by a misunderstanding." Jay shrugs a shoulder, a mild gesture, cool and casual. "Ah see why you think so highly of him, Josh, but nobody's gettin' hurt over anythin'. Yer talkin /around/ somethin', Ah can hear it in yer voice. Ah might be ignorant of a lotta things, yer never a second late to tell me when Ah'm wrong, but there's no misunderstandin' here." Jay glances toward the doorway, then back to Josh, shaking his head and skating a hand through his hair. "Birds of a feather, raght? He's a musician, he seems cool, Ah lahke him. Not a big deal." At this, Josh hesitates. He looks to the door, he looks to Jay. He considers how to word he response. "You may be birds of a feather." he says softly, "But he and I have always been as different as any two people can be and still be friends." He shrugs, a certain tension in his voice, and he says honestly, "I don't know if I was blind or if something has changed but I intend on seeing what is there, whatever it is. But." He tips his coffee back a long moment, and the golden guy shakes his head a moment later, "I don't have any desire to see conflict. What waited for years can wait still before I make trouble for any friend of mine." Jay gives Josh a weird look, confused and shaking his head. "What the hell are you talking about?" He sorts through the words with a perplexed look at Josh. "Ah don't understand you sometimes. What is it about you that makes ya talk around in circles over somethin', but a second ago you all but said Ah was stupid fer recognizin' patterns." Jay quirks a half a smile at Josh, then lifts a hand, waving him forward with a rotation of his hand. "Damnit, Josh. Be rude. What the heck aren't you sayin'?" Josh practically winces: be rude! Augh, how. He hesitates, and he drinks coffee, because this is how sensible people delay matters like these. For a long moment he's silent, not quite able to figure out how to frame this. "You're not fay." he begins, though the word means nothing to him and has no inflection— but obviously he gets the gist of it. Its just foreign. "I care for you." He gestures to the door, "I care for him. If you wished to explore some possible changes in how you look at things with him, I have no right to stand in your way. Clearly, you — connect, on deep levels I can't een understand. As I said, we are… different." He shakesh is head, "Obviously, he has a say in his own life as well. But, I have no claim, no right." Tentatively, almost hesitantly, he adds, "But if no other draws his attention then I will … " This is so weird. Josh doesn't know how to do this. This isn't at all how he did things, before. "He has shown an interest that I am shocked at and interested in exploring. But not at the cost of conflict. I will refuse to fight before I fight over someone, anyone." Slowly, bit by bit, those pieces fall into place and Jay's fair complexion is quick to flush with color all the way down his neck, wings shivering rather violently for a moment, garnering an annoyed look over one shoulder as if he didn't have control of those extra limbs. Shut the hell up back there. A soft clearing of his throat, Jay bows his head, toes flexing in his sandals against the floor. "Right, so, he, uh…" Jay drifts and makes a small gesture toward Josh, lifting his chin once more, though his eyes struggle to raise right away, following a couple seconds later to touch on Josh. "He's interested in you. Okay. Well. That makes sense." "It doesn't make anything like sense at all." counters Josh, sounding almost a little angry, shaking his head as he says it. He grips his hands and tries to make himself small: every muscle tense, arms close, leaning forward. He can't quite turtle but he tries to without really thinking about it, "And I can't speak to his intent or interest at all. I don't understand anything at all going on and nothing at all makes sense." He's frustrated by this, his voice says, "My point is you seemed interested in him. And yeah, yeah, not fey, but whatever with those labels. You've got more in common with him then I ever will and the last thing I want is my oldest friend and my newest friend to hate me because of drama. So I'm saying, I'll step aside and let you figure out whatever your thing is, okay? I'm fine as I am." Jay is far less explosive about the situation, though his confusion on it is right on up there with Josh, and certainly with Josh's reaction. "Ah'm sorry? Ah'm not used t'a guy's reaction to 'someone lahkes you' bein' anger. Ah don't really know how t'react to somethin' like that." His whole body probably still bright red, Jay arches an eyebrow at Josh, curious. "What's not t'make sense? You were close back at school, he had stuff he was goin' through an' now yer goin' through some stuff. He probably relates to what yer strugglin' with. You were there fer him an' now…he wants t'be there fer you." Jay looks down at the back of the folding metal chair he's been perched on, sliding his palms over the lines, picking at little knicks in the paint. "Ah don't understand why yer angry about this. Ah /just/ met the guy. Just cause we get along at first glance doesn't really stack up against years of bein' friends." Looking back up at the gold-skinned man. "Ah like a lotta guys, but that ain't the same thing. Especially if he's flat out tellin' ya he's, you know, interested." Jay unglues his tongue from the roof of his mouth a little and swallows hard. Sense. Sense and logic and words that might make sense to someone somewhere. For just a very brief moment, Josh despises Jay. He's talking sense and nothing in the world that Josh knows makes any sense at all to him when he adds it up. Nowhere that he sees does one plus one equal two. "No one can like me." he breathes softly, "I laid my hand on him and willed his body to part. Every muscle, every tendon, flesh just became a soupy mess falling off of bones. Alive, then dead. Every time I touch someone that is there: that's me. How many lives can I save to make that memory go away?" He shakes his head slowly, "Better that Dai is interested in someone else. Better that I'm not interested in either of you. What's the quote?" He considers a moment then murmurs, "I am become death, the destroyer of worlds." He nods his head, "Dai has traits that you can call demon-like, but he's a good guy. I… am not." Jay listens for a long moment, his brows lifting slightly at one point, though rather than stick on that point, he's quiet until the very end, when he fixes Josh with a look that doesn't seem to flicker or twitch away as some of his do when they talk. "Josh, Ah know that yer goin' through a lot raght now. You…were lead astray and you murdered someone," here, yes, the words come hard for Jay, breathing through them for a heavy, pained moment. "But that isn't who you are. Yer hands ain't poisonous. /You/ ain't poisonous. That guilt that's eatin' at you is proof that that isn't who you are." Hesitating for a conscious moment, though for none of the reasons Josh might immediately guess, Jay reaches over to try to rest his hand over the back of Josh's gold toned one. "You've never hurt me. An' Ah'm willin' to bet you've never hurt Daire, either. It sounds lahke yer tryin' to look for a road block to side step him because yer still upset at yerself. If y'aint ready to be with someone, then don't be with someone. Figure yerself out. That's respectable. But…knowin' all y'do about me, you really wanna try t'use me as a roadblock?" Jay winces gently. "Ah'm a mess." Josh doesn't flinch away from contact, though he looks truly surprised that Jay reaches for it after what he said. Well, its not a mystery between them that he regrets things, that he killed. But … he never quite spoke of it as simply willing the parting of flesh. But its there. Josh furrows his bow, and he considers. "And I would never hurt you." he agrees first, before adding, "And I would never hurt Dai." But he blinks and he eyes Jay a long moment then, "Jay, you're one of the best people I've ever met. I don't agree withy ou on many things— this delusion you have for god— but it doesn't matter if I agree with why, what matters is I look at what you do. You don't do anything that might hurt someone if you know it may. We're all a mess." He pulls away then and shakes his head, "You aren't a mess, Jay. You know right from wrong. You and I, we disagree on some details, and think about them and decide for yourself what you believe, but what you believe is yours and you should trust it. I'm not sure. I'm trying to figure it out. And fuck if I'm terrified of breaking Dai if I get it wrong." There is a golden light that radiates around him. Its not directed like the light usually is, its like its trying to push out and reach, like golden tendrils. Josh says softly, "But I should go. We should hang out. You and Dai should play together. He's a talent — and you're amazing. That sort of beauty doesn't just happen." But he turns away then to leave. Jay's eyelids flicker quickly, as if he's just been smacked across the face when Josh calls his faith a 'delusion'. The wounded look forcibly pressed away as Jay summons up what he has of silent strength to steel himself. He doesn't give chase when Josh shifts away, either. Respecting that choice. Though when he turns, Jay stands, a couple short 'clicks' sounding off his steps as he follows after Josh, trying to put a hand on the man's shoulder. "Yer fightin' yerself, Josh. If y'ain't ready, then you ain't ready, there's nothin' wrong in that, but you gotta be honest. Fer yer own sake, but also fer his." Of all the differences between them, religion is the one Josh is thoughtless about. So even if he notices a look, he doesn't ascribe it to that: Josh's athiesm, as dangerous and untimely as it is in this world, is a core belief. But he pauses at Jay's words. At the door he question, considers and chews over those words, "It isn't a question of readiness, Jay. Don't you believe we all get what we deserve?" he asks as athiest to theologian, and slips away to leave with that stale on the air. Jay settles at the threshold to the room he was drawn to earlier in the evening, his arm falling slack to his side when Josh walks away from him. The community center had died to a lull, so though Jay doesn't strain to call to the gilded man's back, his voice still carries through the space, softly. Solemnly "Ah do. That's…mah point." The winged young man doesn't give chase any further than that, letting Josh go, though the couple verbal smacks from earlier still sting freshly. Wounded, he turns back into the little crummy room in their little crummy community center, sitting back down in the folding metal chair that he abandoned earlier. Just a little lost, waiting for that to pass before he heads back to his temporary home with a sad little elf. _importeddairejayjoshsocial	cc/2023-06/en_middle_0075.json.gz/line55
__label__wiki	0.562568	0.562568	Stephen King part 3 PART 3 � The Gingerbread Girl, The Mist and The Talisman 3 "Well, I�d never say never. I would think about it if it ever came up but so far it hasn�t." "The ending was obviously gonna be controversial but he had to put an ending to it" Lilja: Some time ago there were also talks about a movie version of The Dark Tower by J.J. Abrams? Stephen King: Yeah, I think they are still interested in that but you know for me it was a way of actually� how can I say this� it was a way of stopping a lot of requests and a lot of speculations I was getting from people. I�d get calls from producers �Have you sold this? Have you thought about selling this?� Fans would write and try to cast the movie, got this one to play Roland and that one� and all that stuff so� J.J. Abrams and Damon Lindelof and Carlton Cuse who are the people that do LOST came up to Maine and we had a roundtable discussion that Entertainment Weekly put on and Maine was the logical place to do it because I live there and J.J�s wife comes from Brewer which is right across the river from where I live so� we started to talk about The Dark Tower and they expressed an interest and based off what I had seen of LOST they were just the people to do it and whether or not it ever gets made is another question because it would have to be something that would bend over an arc of many movies and in the case of The Lord of the Rings and the C.S. Lewis Narnia series� those experiments in what I call long form movies, long form cinema, has been very successful but then people tried the Philip Pullman thing, his dark material and that was a flop so it�s risking a lot of money on a format that�s very iffy so we�ll see if anything happens but in the meantime I don�t have to answer as many questions as I used to. Lilja: What is your gut feeling about it? Could it be transformed into a movie? Stephen King: Yeah, sure. Lilja: I guess it was about the same time that you had the meeting with the people from LOST that there were a rumor that you were going to write an episode for LOST. Stephen King: [laughs] Just rumors. I mean they got that pretty well in hand. There is a guy called Brian K. Vaughan who�s a comic guy that has done some work for them and his been terrific. I think they got that well in hand. Lilja: So you don�t feel the urge to try? Stephen King: Well, I�d never say never. I would think about it if it ever came up but so far it hasn�t. Lilja: Is there any other TV series that you felt like writing an episode for like you did with The X-Files? Stephen King: Well, with The X-Files� that was kind of a strange experience because I was re-written so heavily by Chris Carter that it was really very odd, a very odd experience. I don�t know whether, was it William Gibson who did an episode of The X-Files as well� one of those cyberpunk writers did one and I just wondered� I always thought I�d like to get in touch with him to find out what his experience was with Carter because I got re-written pretty exhaustively. You know I like TV and I like long form but as far as actually writing an episode of a show� I can�t think of anything that is on TV right now that would interest me that way. Lilja: It must be hard to write about characters that already have their history and you have to adapt very much to what�s already happened. Stephen King: Well it can be fun� Lilja: Yeah? Stephen King: No question about that but I�m more interested in original stuff I�d say. Lilja: Speaking of original stuff, you�re also working with John Mellencamp on the musical The Ghost Brothers of Darkland County. Stephen King: It looks like it�s actually going to be an out of town� We�re gonna get this play up and running probably in April 2009. We�re going to do another workshop this summer in New York, put the finishing touches on it and somewhere, probably on the east coast maybe Miami or Atlanta somewhere down south it�ll be on next April I think, quite sure of that. Lilja: Do you plan to release it as a DVD or something for people not living in the US? Stephen King: [laughs] Ah, it�s very hard to say, with almost every show that actually makes it to Broadway there is a soundtrack album so it would be that and I can very easily visualize a soundtrack album that had the playbook bound into it but it�s really too early to say. Lilja: What else are you working on now? Is the new book taking up all your time or� Stephen King: Yeah, it�s basically the new book. I don�t wanna talk about it because it always feels like bad luck to do that but it�s a long book and it�s set in Maine, not Florida, and I think that it�s OK so far. Lilja: In the past you have also written some scripts based on your books� Stephen King: Yeah� Lilja: Is that something you enjoy? Stephen King: Sometimes� I wouldn�t wanna say that I really enjoy it but I did a script for The Gingerbread Girl and that is in what I would call development hell right now. It�s basically in the hands of Craig Baxley who directed Storm of the Century and Rose Red and Mark Carliner who produced The Shining miniseries and some of those other things and I would like to see that as a theatrical. I think it would make a good movie. Offers are out to various actors and actresses so now that the strike is over maybe something will happen or maybe nothing will happen. You just never know. Lilja: Is it easier to write a script if you do it like with Storm of the Century, an original script or is it easier to base a script on a book? Stephen King: I think originals are always easier and I think that scripts that are adapted are always easier when they are based on shorter works and I think those actually turn out a little bit better. I think that both The Mist and 1408 from last year are really good movies and both are based on shorter works. When you get a long book it�s kinda like trying to stuff everything into a suitcase and that can be very difficult. Duma Key has been optioned for movies and it may actually become a movie but I was surprised that it happened because it�s a story that has so much plot in it, it would really have to be simplified. Lisey�s Story on the other hand would make a great TV miniseries if it was done in the right way. Lilja: Yeah. Stephen King: What are you watching now? Lilja: I�m actually watching LOST. We�re a couple of episodes behind you but that�s an interesting show. Stephen King: Yeah, it is. It�s interesting, it�s an interesting show, has interesting format and� yeah, it�s good. Lilja: It�s going to be very interesting to see how they will tie it all up in the end. Stephen King: You know what? I think they will actually be able to. Lilja: Yeah? I hope so. Speaking about The Mist. I just saw it recently and I must say that it�s a really good movie. Stephen King: Yeah, I think it is. Lilja: It really survived very well in the transformation from story to movie. What are your feelings about Frank�s new ending? Stephen King: I thought it was good. The ending was obviously gonna be controversial but he had to put an ending to it, the story really doesn�t have an ending. Before it could become a movie it had to be tied up. He couldn�t just leave them there on the road which is what I did. And he became more and more convinced that the ending should be what the ending was when he did it. And originally it looked like it was going to be a Paramount movie and that they were gonna make it for a big budget, you know like I am Legend money, like 80 million, 90 million dollars but they wanted Frank to change the ending before they would do that. And Frank tried a number of different things, God bless him�I mean there is nothing wrong with that guy�s heart or his willingness to work with other people, and none of it really rang true, nothing really worked so eventually he did the deal with The Weinstein�s for Dimension Films. And they said �yes we�ll go ahead and do it your way but we�ll only go in for like 17 million dollars� so they kinda shot it quick and dirty. Lilja: Yeah, and I think that was good for this one. Stephen King: Yeah, I think so too. One thing that is interesting is that when the DVD comes out, which is fairly soon now, there�s going to be two versions. There�ll be the version that was released in theatres and there�ll be another one that will be in black and white. Lilja: Yeah, that one should be interesting. Stephen King: Yeah, that�s kind of the way that he wanted to do it from the very beginning. That will be interesting. Lilja: I just have one more question and then I�ll let you go. Stephen King: OK� Lilja: What about The Talisman 3? Any news on that? Stephen King: [laughs] You mean the third section? Stephen King: Well, I talk to Peter about it and the real problem isn�t working with Peter because I love to work with Peter and we actually have a really good idea for this book and I�m sure it�ll happen in time but right now what it would mean is backing off and rereading those first two books and getting kinda back into the groove a bit and that�s the part that�s kinda holding me back, that�s daunting. That�s a lot of story there to beat around with, to work around so� Lilja: It�s about the same as when you were doing the last three Dark Tower books; you had to read up on them� Stephen King: That�s exactly what I was thinking of, yeah� Lilja: I hope it won�t be too long though� Stephen King: This was great, I�ll talk to you again. Lilja: Yeah, I hope we can do this again. Stephen King: OK, take care. Lilja: Bye. If you want to comment or discuss this interview, please mail me. PART 1 � Duma Key and a really long new book PART 2 � Just Past Sunset, The Dark Tower and The Stand Copyright (c) 2008, Lilja's Library. All rights reserved. Larger parts of this interview may not be reproduced or transmitted in any form or by any means without prior written permission from Lilja's Library.	cc/2023-06/en_middle_0075.json.gz/line61
__label__cc	0.691598	0.308402	home Movies, News Bruce Willis to Make Directorial Debut Bruce Willis to Make Directorial Debut According to the Lousisana Office of Entertainment Industry Development, the film icon will be making his debut has a hyphenate in “Three Stories about Joan.” The film, a psychological thriller will begin shooting in Shreveport October 2nd into early October. The film will star Willis, Owen Wilson, and Kieran Culkin. No word on plot details other then its genre, Willis’ last attempt at directing something was back in 1991, but the project never got off the ground. Let’s hope this venture goes better then Planet Hollywood. I love Willis, so I’m glad to see him trying something new. TAGS: Bruce Willis Owen Wilson	cc/2023-06/en_middle_0075.json.gz/line62
__label__cc	0.683403	0.316597	FAQs About Seasonal Allergies, Illnesses, And Diagnosis At An Urgent Care Clinic Do you have seasonal allergies—or are your symptoms a sign of something else? If you have a stuffy or runny nose, sore throat, cough, and other respiratory issues, take a look at what you need to know about these symptoms, a diagnosis, and how an urgent care clinic can help. Are Symptoms Enough for a Diagnosis? Your symptoms are clues that the medical provider can follow. But signs of a possible allergy or a potential illness aren't always enough to help the doctor make a diagnosis. Common symptoms that span seasonal allergies and viral illnesses such as colds, the flu, or Covid include nasal congestion, sore throat, cough, sneezing, and itchy or watery eyes. While some people with allergies may feel tired (especially if their symptoms keep them up at night or they take an antihistamine), fatigue is more often associated with a viral infection. Fever, chills, and muscle aches are not signs of seasonal allergies. If you have these symptoms, the doctor may immediately rule out allergies. But this doesn't mean they will diagnose one specific illness using the symptoms alone. Even though you could have these similar symptoms with an allergy, diagnostic tests are often necessary for the doctor to diagnose and treat you correctly. What Types of Tests Might You Need? There are two primary types of allergy tests—skin and blood testing. These tests can help a doctor to diagnose seasonal allergies (such as ragweed or tree pollen) or allergies to medications, foods, animals, insects, or other common triggers. Skin prick and allergy blood tests won't help the medical provider to diagnose the flu or Covid. The doctor may recommend a nasal swab test to rule out or diagnose these viral illnesses. How Can An Urgent Care Center Help? Can an urgent care doctor diagnose your allergies? Skin prick and allergy blood tests are typically tools that a specialist uses. If you suspect that you have seasonal allergies, you can start the diagnostic process at this type of general clinic. A clinic doctor can review your symptoms and order tests to rule out illnesses such as the flu or Covid. If you test negative for both of these viral infections, and the doctor doesn't feel that you have a cold, they may refer you to an allergist. Patients who do test positive for the flu or Covid can take the next step towards treatment at a clinic. A medical provider can prescribe an antiviral medication to treat the flu or refer you to a healthcare facility that offers Covid treatments such as antivirals or monoclonal antibodies. Contact an urgent care clinic for more information. Answers To Questions You May Have About Ketamine Treatment - 9 January 2023 Types Of Skin Rejuvenation Treatments And Why You May Want Them - 5 December 2022 Spider Vein Treatments: FAQs About The Procedure And Prep Steps - 28 October 2022 Are You Expecting a Baby? Signs to Watch For - 23 September 2022 FAQs About Receiving Acupuncture For Fertility - 24 August 2022	cc/2023-06/en_middle_0075.json.gz/line77
__label__cc	0.653796	0.346204	Two twilight troubadours: Dusk-singing cicadas and katydids Aug 10, 2020 admin Uncategorized Gorgeous annual cicadas chorus in daytime and evening on toasty summer days. By rapidly vibrating tymbal organs of each side of their abdomen, cicadas produce otherworldly songs. Last week a friend inquired about all of the racket created by unseen insects as scorching days melted into somewhat less scorching nights here in the DMV. Near sunset as we enter the twilight zone, shrill daytime calls of several species of annual, a.k.a dog-day, cicadas are replaced by the courtship serenades of hopeful dusk-calling male cicadas and male katydids. Specific frequencies, amplitudes, and tonal patterns are used not only for species recognition, but also by females of each species to decide who will be the father of their nymphs. The winners of the entomological version of ‘The Voice’ win the right to mate and thereby move on to the finals evolutionarily, so to speak. Cicadas produce sound by vibrating a membranous, drumhead-like organ on the sides of their abdomen called a tymbal. The enlarged and mostly hollow abdomen of the cicada acts as an amplification chamber producing vibrations of 100 decibels, one of the loudest sounds in the animal world. Watch as an annual cicada scales a tree before taking flight to the canopy. The abdomen of a daytime-singing cicada vibrates as he woos his mate. Leaf-mimicking angle-wing katydids are common in our area. Grooming appears to be an important part of the daily routine. To hear the gentle call of the greater angle-wing katydid, please click on this link. http://songsofinsects.com/katydids/greater-anglewing The dark chambers on the front legs of the katydid collect vibrations in the air enabling it to hear the calls of other katydids. Katydids use a very different anatomical mechanism to create sound. The katydid’s remarkable musical anatomy includes a forewing with a series of teeth called the file and an opposing forewing with a scraper. When the file moves across the scraper, vibrations reverberate across the wing – the song of the katydid. The common true katydid, Pterophylla camellifolia, creates an amplification chamber by bowing its forewings to help resonate its call. The result is one of the loudest and most easily recognized of all katydid songs. So, if the guys are singing their hearts out, female cicadas and katydids must be able to hear their songs, right? Right! Both male and female cicadas have membranes called tympana on their abdomen that enable them to detect vibrations. The auditory organs or “ears” of katydids are located inside chambers of the front of their forelegs. How strange. As the dreadfully hot summer day transitions to evening, listen for the calls of the dusk singing cicada and enjoy his attempts to woo a mate in the treetops. And as twilight transitions to dark, when the songs of cicadas’ end, soon will begin the chorus of the katydids, serenades of six-legged summer romances. “Songs of Insects” by Lang Elliott and Wil Hershberger, the wonderful Songs of Insects website, and “The mechanics of sound production in Panacanthus pallicornis (Orthoptera: Tettigoniidae: Conocephalinae): the stridulatory motor patterns” by Fernando Montealegre-Z and Andrew C. Mason were used as references for this episode. Special thanks to Jen Franciotti for providing the inspiration for this episode. To hear the song of one of our local dusk singing cicadas, the Northern Dusk-singing Cicada, Megatibicen auletes, please click on the following link: http://songsofinsects.com/cicadas/northern-dusk-singing-cicada To hear the song of one of our local nighttime chorusing katydids, the Common True Katydid, Pterophylla camellifolia, please click on the following link: http://songsofinsects.com/katydids/common-true-katydid	cc/2023-06/en_middle_0075.json.gz/line80
__label__cc	0.714035	0.285965	Another three knocks on the door had him opening the door so very slightly. His face looked even paler, as it always was after an episode like this morning. Still, the corners of his lips twitched in a little self-deprecating humour. It amazed her that after all this time, he still felt it necessary to feel embarrassed in front of her. He let her inside. Ravel’s piano solo was still playing from the smartphone he had left haphazardly on the floor. Kagome bent to pick it up, the beautiful trills of piano keys accompanying her on the way up to full height. Sesshōmaru took it from her hand and turned the volume down low. They went into his immaculate kitchen, and she set the pastry box on the counter and began to open it up, unloading one decadent creation after the other. Sesshōmaru always preferred the plain ones: a well-crafted butter croissant – simple and without frills, with nothing to hide any imperfections. On the other hand, she liked hers stuffed with cream, custard, or jelly, drizzled with chocolate, and then dusted with icing sugar. Their tastes were as different as night and day, but after a few years of her visits, they had become friends. Somewhat. “I have no milk,” he said as he went through the motions of making their tea. “I'm sorry." His voice was steady, but she detected the tremors in his fingers as they rattled the teacups and saucers. She went to him and took his hands, steadying them. "Is that why you tried to leave the apartment?" She asked. "To get milk?" Sesshōmaru nodded solemnly; fair lashes lowered to shield his darkening amber eyes. "I know how you take your tea." He pursed his lips, looking quite remorseful. Kagome wrapped her arms around him and held on tight. The tremors were deep within his muscles. He quivered like a taut string plucked, and she felt the vibrations throughout his limbs. She rubbed his back in wide circular motions, knowing the simple gesture comforted him. They held onto each other for a while, until his lips gradually travelled to her ear. He kissed the sensitive spot on the underside, slowly trailing down the side of her neck before he mouthed that tender place at the crux of her shoulder, biting gently. Kagome moaned, clutching his arms as she held onto him, unsteady on her feet. His tongue traced the groove of her clavicle as his hands skimmed up her thighs, pushing the hem of her sweaterdress upwards. Cool air brushed against her bare legs. Then, with one quick pull, he peeled her dress away from her body and onto the floor it went. With powerful arms, he lifted and sat her down on the edge of the counter. His lips returned to her neck as his fingers sought the center of her, pushing the bridge of her panties aside as they caressed her damp folds. Her own hands were no less busy. They fumbled with the fastenings of his belt, of his trousers, until they freed him and wrapped themselves around him. She groaned low in her throat when she found him already thick and swollen. He moved his hips forward at the same time she pulled him to her core, both gasping at the feel of them touching, hardness sluicing against the soft. He planted his hands onto the counter, not yet breaching her but just rubbing his length there. All the while, he buried his face in the crook of her neck, kissing, biting as he glossed himself in her wetness. She clasped him to her. Sometimes, he would be needy and desperate like this. Wanting touch, wanting to hide from the insecurities he felt from his inability to leave this place. And every time, she was only too happy to provide that hiding place for him. This morning, it was no different. Once again, he was seeking solace in her embrace. And she'd follow him anywhere, like a seashell carried away by the current of the ocean. Swept away in his kisses, his passion. And, like always, she welcomed it.	cc/2023-06/en_middle_0075.json.gz/line82
__label__cc	0.66987	0.33013	Home » US News » Bellevue Maggiano’s restaurant linked to norovirus outbreak Bellevue Maggiano’s restaurant linked to norovirus outbreak Seattle and King County health officials said they currently investigating an outbreak of norovirus-like illness associated with Maggiano’s Little Italy restaurant in Bellevue. The investigation is in the early stages so information could change. Preliminary information indicates that as many as 50 who attended a private event at the restaurant on 1/18/16 may have come down with norovirus following the event. One or more of the attendees may have already been ill at the time of the event. Several restaurant workers were also believed to be ill with symptoms consistent with norovirus dating back to 1/9/16 and over the subsequent two weeks. Officials do not have laboratory confirmation that this is definitively norovirus, but often in norovirus outbreaks no laboratory testing is done. Public Health learned of the outbreak late on Friday, 1/22. The restaurant is working cooperatively with Public Health, and we have suspended their food business permit in order to allow time for thorough cleaning and sanitizing. Public Health staff will be conducting interviews of ill persons. People who are ill with vomiting or diarrhea for more than 3 days, or who have signs of serious illness like bloody diarrhea should see a health care provider. Norovirus is a highly contagious virus that is frequently spread person-to-person and is often associated with food. Norovirus illness often has a sudden onset of nausea and vomiting and/or watery diarrhea with cramps. A low grade fever, chills, and body aches sometimes occur. Norovirus rarely causes severe complications. Dehydration is the most common complication, particularly among young children and the elderly. No vaccine is available for norovirus. Anyone with norovirus symptoms should wait at least 48 hours after their last episode of vomiting and/or diarrhea before preparing food for others. Wash hands with soap and water after using the toilet or changing diapers, and before preparing food or eating. Because raw seafood can be contaminated with Norovirus, always cook shellfish and other seafood thoroughly before eating. Princess Cruises: 200 sickened in norovirus outbreak on Crown Princess California reports big increases in norovirus outbreaks since October Chipotle: Boston norovirus cases rise, Steve Ells apologizes Lobstodile Spincasino.games says: JaffarChoorne says: Medical fitness standards for Army service colleges Except as provided elsewhere in...	cc/2023-06/en_middle_0075.json.gz/line85
__label__wiki	0.543643	0.543643	Home Amazon Apple iPod DRM case heats up, but might still fizzle Apple iPod DRM case heats up, but might still fizzle The wheels of justice grind slowly, and sometimes a bit of grit gets stuck in the gears. This seems to be the case with the ten-year-old lawsuit against Apple over the DRM policies it used to enforce on iTunes Music Store music and iPods. Over the last couple of weeks, it’s started moving again, and the testimony and depositions have been interesting to follow. But now it looks as though, just as it’s getting started again, it may come to a complete halt. Locking Out Competitors At heart, the case has to do with the way Apple continually changed its DRM to close loopholes other music stores attempted to use to force iPod compatibility with their own DRMed music. The iPod would, of course, play DRM-free music from any source (such as ripped from CDs, or sold by sites that didn’t use DRM—which was strictly indie music way back then), but the whole Napster thing still stung so badly that the labels insisted on DRM. So, Apple sold its iTunes music with DRM, and every other store that worked with the major labels, such as RealNetworks, sold their music with DRM, too. The problem for every digital music store that wasn’t Apple was that when it came to digital music players, there was the iPod and then there was everything else—and only Apple could sell music for the iPod. Hence, Apple was the first poster boy for digital media platform DRM lock-in, back when the Kindle was still just a twinkle in Jeff Bezos’s eye. About the only thing competitors could do was try to create their own digital music players, but it cost a lot to develop portable hardware, and Apple had already cornered the market on the miniature hard drives that gave the iPods such a huge storage capacity. And thanks to the network effect of the most popular platform becoming more popular the more people used it, they had a huge first-mover advantage, so no one else could hope to catch up. RealNetworks thought it had a clever way around that, taking advantage of a loophole in Apple’s DRM to slip music into their iPod on the sly while still keeping it DRM-protected. However, as soon as Apple noticed, it immediately altered its DRM to close the loophole. (Apple would do this again, years later, when Palm tried to use iTunes as an unauthorized sync conduit for its new Palm Pre phones.) And so, a class-action lawsuit was born. Apple: Blame the Record Labels, Not Us We’ve seen some interesting testimony in recent days. Apple executive Eddy Cue, best known to us in recent days from his role in the events that spawned the Apple anti-trust case, testified that the record labels insisted on the DRM, whereas Apple wanted DRM-free interoperability. It was only in 2007, after iTunes turned out to be popular enough that the labels began to regard it as a monopolistic threat, that the labels’ attitude toward DRM thawed. Soon competitors such as Amazon, then Apple itself, were able to sell music DRM-free. Steve Jobs said something similar, in a video shown to the court but not released to the public: "We had pretty much black and white contracts with the labels," Jobs said in the deposition. Those contracts stipulated that if people violated Apple’s FairPlay digital rights management system, a technology that would detect other music stores’ song files and prevent users from loading them onto the iPod, "…that would be in clear violation of the licenses we had from the labels and they could cease giving us music at any time." Jobs referred to companies such as RealNetworks as “hackers” who could put Apple in noncompliance with record company contracts, something which Apple was “very scared of”. Tear Down the Walled Gardens? This is an interesting case, given that it strikes at the heart of an assumption that’s been with us for at least the last ten years: the idea that companies have the right to build and enforce walled gardens on their own platforms. This assumption has held through the rise of the iPod and Apple’s music, the iPhone and Apple’s apps, and most recently the Kindle and DRMed e-books. When Apple began enforcing its rule that required paying it a vig from any in-app purchases, everyone basically shrugged, said, “What can you do?” and adapted. Their garden, their rules. The closest we came to seeing any sort of legal action about it was when the DoJ suggested requiring Apple to drop the vig for a set period as part of the anti-trust settlement and Judge Cote demurred, saying she wanted to tread as lightly as possible on Apple’s business. There’s been a strong assumption that, as in the story of the little red hen, being the one to bake the bread entitles you to decide who gets to eat it. If this case goes forward, it could call that assumption into question. I wonder if it could have any repercussions for the e-book market? The similarities only go so far—nobody has tried to hack Amazon’s DRM to make the devices compatible with other e-book DRM schemes. (After all, it’s far easier just to strip the DRM altogether.) All the same, the main point of contention about Apple’s walled garden could apply to any walled garden that currently exists. The Plaintiffs Vanish That said, the operative phrase here is “if the case goes forward.” It seems that, despite representing a class that could consist of millions of people, neither of the plaintiffs in the case actually bought an iPod during the period of time (before Apple dropped its restrictive DRM) that would give them standing to bring the suit. One plaintiff has already been dismissed from the case; the other might be. (Her iPod was actually bought not by her, but by her ex-husband’s law firm.) If they can’t find a valid plaintiff, the judge might well have to dismiss the case. (I would think that it shouldn’t be hard to find another if millions of people could have been affected, but perhaps some legal issues prevent swapping one in at this late date?) It would be a trifle anticlimactic if the case got this far and then fizzled. I hope it will be able to continue. It would be interesting to see what effects a ruling might have on other digital media. Eddy Cue RealNetworks Previous articleReview: RAVPower RP-PB 19 External Battery Next articleMorning Roundup: Kindle and morning reading; more Frank Lowney December 7, 2014 at 6:29 pm Those who purport to represent rights holders are doing a very effective job of using other entities as proxies. The intermediary (retailer, agent, whatever) takes the heat from consumers who must concoct ever more fanciful victim scenarios in order to vent their frustration with DRM. Not only is music from Apple and others DRM free these days but you cannot buy an iPod with a capacious HD any more. Once again, the law is slow on the draw.	cc/2023-06/en_middle_0075.json.gz/line87
__label__wiki	0.603142	0.603142	TvGlobe From Faisal Shaikh to Urvashi Dholakia, Pratik Sehajpal shares moments from his special star studded evening; Check out video December 31, 2022 December 31, 2022 user10 MUMBAI : Ekta Kapoor’s Naagin has gone on to become one of the most iconic shows and one that leads the way for a lot of fantasy supernatural shows. Nobody can forget the first season and how it laid the foundation for the show to have 6 successful seasons. Pratik Sehajpal is one of the upcoming talents in […] Actor Namik Paul to play the lead role in Star Bharat’s upcoming show ‘Meri Saas Bhoot Hai’? MUMBAI :Star Bharat has always been entertaining its viewers through its fiction and non-fiction shows. Now the channel is all set to present a new dramedy genre show to the viewers. Produced by Filmfarm Productions, the show will star the veteran actress Sushmita Mukherjee in the lead role along with Kajal Chauhan who will enthrall the […] Yeh Rishta Kya Kehlata Hai: On-screen foes become off-screen best friends MUMBAI : Yeh Rishta Kya Kehlata Hai is one of the top shows and is getting more interesting with every passing day. In the latest episode, we saw that Akshara has suffered a miscarriage of her twins and on the other hand, Neil was so badly beaten up by the goons that he dies from his injuries.Everyone […] Fahmaan Khan declares Sumbul Touqeer Khan as the winner of Bigg Boss 16 says ‘ She is very real and cannot fake anything that’s why she is still in the house and ruling the game” MUMBAI :Imlie, the show has taken a leap, and now the story will be shown from Chini and Imlie’s (Aryan & Imlie) daughter’s point of view. Finally, Aryan and Imlie had to say goodbye to the show. Both Fahmaan and Sumbul are hardworking and invest their 100 percent in whatever they do. There have been many […] Bigg Boss 16: Salman Khan lashes out at Mc Stan and Shalin Bhanot for their massive fight and abuses herald on each other MUMBAI: The weekend ke vaar episode is finally here and Salman Khan is back to give the contestant a reality check about how they have performed and how the week has gone. This week a lot has happened, as we did see how Archana and Priynaka’s friendship came to an end. The differences between Mc Stan […] Mohit Sharma and Aditi Sharma’s marriage on the rocks? MUMBAI: Popular Television star Mohit Raina tied the knot with Aditi Sharma in January 2022. The couple shared lots of lovely moments from their lavish wedding and fans were in awe of it. Now, nearly a year later, there seems to be trouble in paradise. Reportedly the couple’s marriage is on the rocks. Actor Mohit Raina […] Bigg Boss 16: Exclusive! MC Stan, Saundarya Sharma, and Sreejita De are the new captains of the house MUMBAI :Tvglobe has always been in the forefront in bringing you exclusive news from the world of entertainment. For the first time in history, Bigg Boss changed the rules of the game, where in the house there were three captains in the house. Sumbul, Saundarya and Tina were the captains of the house and they really […] The netizens express anger on the makers of Yeh Rishta Kya Kehlata Hai after disappointment with recent plot; Demand getting old writers back; Check out reactions MUMBAI: Yeh Rishta Kya Kehlata Hai is one of the longest running Indian television shows and the people still love it. The audience pours in immense love for the track and the chemistry of AbhiRa aka Abhimanyu and Akshara. The show is in for a lot of drama with the upcoming twists and turns. The current […] Bigg Boss 16: Abdu Rozik trends online; fans show support and wish for him to get away from Sajid Khan; Check out reactions MUMBAI : Bigg Boss, a reality television programme, has been drawing viewers from all around. The 16th season is doing really well and the audience is loving the drama. Fans are incredibly enthusiastic about the participants and the material they have been contributing to the programme. We have witnessed the friendship, love, and animosity relationships that have developed within […] Why are Megha Chakraborty and Karan Vohra aka Imlie and Atharva locked-up in Jail? Officially Intrigued MUMBAI : Tvglobe is back with another BTS update from the show. Megha Chakraborty and Seerat kapoor aka Imlie and Chini respectively, are being loved by the audience for their performances on the show. Karan Vohra does a great job playing Atharva. Recently, Atharva and Imlie got married and Imlie wants to get to know Atharva. […] Check out these actresses who REFUSED the lead role of Dua in Zee TV’s Rabb Se Hai Dua You will completely Relate to Ghum Hai Kisikey Pyaar Meiin fame Aishwarya Sharma’s reaction to Dhol Music, check out Fahmaan Khan is proud of Sumbul Touqeer Khan for these special reasons; says “You are on fire Sumbul, win and come and in case you don’t win we shall meet soon” Exclusive! Surbhi Jyoti, Surbhi Chandna, and Anita Hassanandi will be back as Naagins for the Grand Finale of Naagin 6! Pranali Rathod just shared the most BEAUTIFUL AbhiRa montage and you cannot miss it; Check out video	cc/2023-06/en_middle_0075.json.gz/line94
__label__wiki	0.799812	0.799812	Unlikely Voter Conservative views on polls, science, technology, and policy Swingometer CYO Electoral College CYOVM Surprise movement in West Virginia By Neil Stevens on August 31, 2010 I know the whole world has discussed this poll to death already, but I think it deserves mentioning. In fact I would have yesterday but Gallup got in the way. But here it is: Rasmussen suddenly shows Republican John Raese competitive with Democrat Joe Manchin in the West Virginia Senate race. There’s no doubt that Manchin 48-Raese 42 (MoE 4.5) is a competitive result. Yes, I show Manchin ahead 75% of the time after this poll, but a one in four chance of winning is rather high when Manchin is a highly popular incumbent Governor. However even as Manchin is at 70% job approval, Barack Obama is at 64% Strong Disapproval. West Virginia voters are clearly happy with the job he has done in state, but they’re not entirely sure they want to send the President another Democrat to promote his agenda. In partisan terms West Virginia seems to be behind the times. It’s a one party state for the Democrats, but of a kind of more right-wing Democrat that has largely switched to the Republican party in other states from 1980 to 1994. The deep south has gone heavily toward the Republicans but West Virginia even more than Arkansas has mostly stayed true to the Democrats. Maps like that of the 1988 Presidential election illustrate this so well, as the state went for Mike Dukakis even as all its neighbors went for George Bush. This poll is a sign that West Virginia may finally shift over to the Republican party. It’s already following the same pattern as that of the deep south, having voted Republican in the last three Presidential elections, in fact going for John McCain even as many neighbors went for Barack Obama! The pattern is there, but it is just shifted forward, starting and ending later than the rest. Tagged as: 2010, Barack Obama, Joe Manchin, John McCain, John Raese, Rasmussen Reports, Senate, West Virginia No Responses to “Surprise movement in West Virginia” Syndicate UnlikelyVoter.com with RSS Or follow @UnlikelyVoter on Twitter House of Representatives Swingometer Electoral College Swingometer Unlikely Voter Shopping See t-shirts and more at the Unlikely Voter store Neil Stevens The Resurgent What's Wrong with the World Copyright © 2023 Neil Stevens	cc/2023-06/en_middle_0075.json.gz/line95

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