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"When you start to write, you carry to the page one of two attitudes, though you may not be aware of it," wrote the Pacific Northwest poet Richard Hugo. "One is that all music must conform to the truth. The other, that all truth must conform to music."
Hugo was a proponent of the latter. The quote comes from "The Triggering Town," his 1979 book of lectures and essays on poetics. Throughout the essays he advocates an approach to poetry based on "triggering" subjects and words. According to Hugo, triggering subjects help the poet enter into the realm of the imagination—they enable the poet to explore, to seek the unknown, and to create without limitation.
This unique notion of triggering was one of the things that inspired Seattle-based composer and pianist Wayne Horvitz to explore Hugo's poetry through music. His latest album, titled "Some Places Are Forever Afternoon," is a collection of 12 instrumental compositions inspired by Hugo poems. There is one major difference, though: Horvitz uses no words.
"This was something entirely new for me, to accept this concept that it's not the poem at all—there are no words in it," Horvitz said of the project. "But it is some kind of reincarnation musically of the poem."
The album features a musical amalgamation of two of Horvitz's quartets: the jazz troupe Sweeter than the Day and the contemporary classical chamber group the Gravitas Quartet. On the album, Horvitz plays piano, organ, and electronics alongside cornetist Ron Miles, bassoonist Sara Schoenbeck, cellist Peggy Lee, guitarist Tim Young, bassist Keith Lowe, and drummer Eric Eagle.
Each piece unfolds slowly and patiently, much like Hugo's poetry. Borrowing from jazz, classical, electronic, and improvised musical styles, Horvitz evokes the frayed landscapes, the rural stillness, and the compressed images present in much of Hugo's work.
"[With this record] I was a little more willing to let the ideas develop in a certain way, to let each phrase lead quietly to the next phrase—because he does that a lot in his poems, they unfold slowly in a really beautiful way," Horvitz said.
Each piece gets its title from one of the lines in a corresponding Hugo poem—whichever line triggered Horvitz. As for the album's title track, "Some places are forever afternoon" is a line from a poem which appears at the end of the album.
"Words are the same as music," Horvitz said. "You love a phrase and it gets stuck in your head and you want to hear it again. That's the way I felt about that line—I just wanted to hear it over and over again."
From the melancholy calm of "Money or a story" to the moody dissonance and despondency of "you drink until you are mayor," each piece comes from a different place, a different story, a different poem.
Many of Hugo's poems were inspired by small towns and odd places he visited—seemingly dreary dwellings where he found a sparkle of inspiration. Horvitz's "those who remain are the worst" embodies a slow and contemplative atmosphere with soft, soulful glimmers of hope shining through the cornet and guitar solos. "Nothing dies as slowly as a scene" is brimming with Americana nostalgia, at times even evoking the groove of a jukebox before the scene burns out.
"I like to imagine what people's lives are like," Horvitz said of his compositional process. "And that's exactly what Hugo did. He'd go into a town and hang out in a café or a bar, and he wasn't concerned with his poetry being accurate, he was just concerned with where his imagination went. But he took inspiration from the people he saw and the places he went—and I think that's something we have in common."
Horvitz's "in some other home" brings to mind a rustic, rural landscape—a quiet and unassuming gem of a town. A gently glimmering piano riff opens this charming and sweet little tune before the piece leisurely wanders through a string of solos.
The longest piece on the album is "The car that brought you here still runs," a piece inspired by Hugo's most famous poem, "Degrees of Gray in Philipsburg." The piece drifts through a delicate opening chorale before shifting through free jazz improvisations and chamber music stylings. Listen for the charming piano and cello theme about halfway through—Horvitz counts it as one of the loveliest moments on the album.
But there are plenty of memorable moments on this record; each piece is brimming with nostalgia for both real and imagined landscapes. Although according to Hugo, the music is more important than the reality anyway.
"Besides," Hugo wrote, "If you feel truth must conform to music, those of us who find life bewildering and who don't know what things mean, but love the sounds of words enough to fight through draft after draft of a poem, can go on writing—try to stop us."


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- Created in Infections & Infestations
One of the most common skin infections is scabies. Scabies is contagious and can spread through close contact with families, schools, child care, prison, and nursing homes. Due to its infectious nature, it's important to know the early signs of scabies and what you can do to treat it effectively.
What is Scabies?
Human scabies is from an infestation of the skin caused by the human itch mite called Sarcoptes scabei var. hominins. When placed under the microscope, the mite burrows under the upper layer of the skin and lays eggs.
If somebody is suffering from scabies, it will cause intense itching and a rash that consists of small pimples. Scabies is highly transferable through skin-to-skin contact with somebody suffering from it. Because of this, scabies is more widespread in places that are frequently crowded, which can cause close body contact between people.
For people who have not suffered from scabies before, symptoms can take 4-8 weeks to develop. Even though infected people are not exhibiting symptoms, it is important to know that they can be contagious.
People who previously had scabies will take a shorter time to exhibit symptoms and will usually appear within the first five days of exposure.
Signs and Symptoms of Scabies
The itching caused by scabies is very intense (pruritus) and intensifies more at night. The common areas of the body where the itching occurs are the elbows, wrist, buttocks, waist area, and between fingers.
Another main characteristic of scabies is tiny burrows on the skin, which are caused by female scabies congregating under the upper skin layer.
For severe scabies, vigorous scratching can cause breaking of the skin, which can pave the way for a second bacterial infection such as Impetigo.
Crusted scabies is a more severe form of infection and is most likely seen in high-risk groups such as people with a weakened immune system and those suffering from chronic conditions. For typical scabies cases, the number of mites might be up to 15, but millions of mites can be the source of severe infection for crusted scabies. Because of this, crusted scabies is very contagious and hard to treat.
How is Scabies Diagnosed?
Your doctor or dermatologist will need to examine the affected area to properly diagnose scabies. The symptoms of scabies can be mistaken for other things like dermatitis or eczema, which is why it is essential to get a proper diagnosis to start appropriate treatment.
In looking at the affected area, your doctor will look for burrowing and might even scrape a sample off your skin to put it under the microscope. This microscopic examination can lead to the discovery of mites or their eggs.
Common Treatments for Scabies
The primary treatment for scabies is medications that can eliminate the infection. Your dermatologist might prescribe lotion and creams to alleviate the itching and heal the infection.
The prescribed medication will be applied to your whole body from the neck down and left for at least 8 hours. Some treatments will require a second application.
Because scabies is highly contagious and easily spreadable, the dermatologist will treat people with close contact with the infected person even if they are not exhibiting symptoms.
The usual medication or creams that can be recommended are:
- Crotamiton (Eurex, Croatan)
- Ivermectin (Stromectol)
- Permethrin cream
Consult with your dermatologist to learn which treatment option is right for you.

subset: commoncrawl


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Unlocking business potential
How we can help unlock your business potential
Organisations need knowledge to succeed. And in business today, knowledge has never been more important.
Knowledge is the most important tool businesses use to overtake their rivals. Better knowledge means better products, better processes, better management tools, better values and better behaviours – throughout a business. But perhaps most importantly, better knowledge can mean developing a unique company, a key ingredient in outstanding success.
Too often, however, the unique knowledge that businesses possess goes to waste, while other knowledge that could dramatically improve how they work is never imported from outside.
How standards can unlock the potential knowledge offers
In the early days of BSI at the start of the 20th century, standards were about achieving consistent product quality. Later standards helped build strong, reliable processes throughout an organisation. Today standards continue to do all this, while at the same time helping you unlock and develop new streams of knowledge through your organisation.
Increasingly today the emphasis is on using knowledge to help organisations tap into their own business potential. How? By looking at the values and principles they operate by and the best practice knowledge they have amassed in the area in which they work. By making sure these unique values, principles and specialist knowledge are utilized to their full potential. And by adopting tried and tested principles from outside in specific areas of their business, often gaining huge improvements in productivity.
We help organisations realize what valuable knowledge they have, often overlooked, which gives them certain unique advantages over others. This is an exciting new area for standards, which includes issues such as corporate behaviours, business ethics, diversity and innovation capability. It can encourage provide linkages between many different technical domains to solve an emerging issue.
These growing streams of knowledge within an organisation accelerate the innovation cycle, spread key expertise business-wide, and establish firm value-based principles to deepen and the company culture which is a key ingredient in unlocking your potential.


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If you buy into the version of Christianity Lite peddled by evangelical leaders such as Franklin Graham, who recently advised Americans to do as the Bible saysand "submit to your leaders and those in authority," then staying alive in the American police state depends largely on your ability to comply, submit, obey orders, respect authority and generally do whatever a cop tells you to do.
If, however, you're one of those who prefers to model yourself after Jesus Christ himself—a radical nonconformist who challenged authority at every turn—rather than subscribe to the watered-down, corporatized, simplified, gentrified, sissified vision of a meek creature holding a lamb that most modern churches peddle, then you will understand better than most how relevant Jesus' life and death are to those attempting to navigate the American police state.
Indeed, it is fitting, at a time when the nation is grappling with moral questions about how best to execute death row prisoners (by electric chair, lethal injection or shooting squad), whether police should be held responsible for shooting unarmed citizens (who posed no threat and complied with every order), and to what extent we allow the government to dictate, monitor and control every aspect of our lives (using Stingray devices, license plate readers, and all manner of surveillance technology), that we remember that Jesus Christ—the religious figure worshipped by Christians for his death on the cross and subsequent resurrection—died at the hands of a police state.
Those living through this present age of militarized police, SWAT team raids, police shootings of unarmed citizens, roadside strip searches, and invasive surveillance might feel as if these events are unprecedented. Yet while we in the United States may be experiencing a steady slide into a police state, we are neither the first nor the last nation to do so.
Although technology, politics and superpowers have changed over time, the characteristics of a police state and its reasons for being have remained the same: control, power and money. Indeed, as I point out in my book Battlefield America: The War on the American People, a police state extends far beyond the actions of law enforcement. In fact, a police state "ischaracterized by bureaucracy, secrecy, perpetual wars, a nation of suspects, militarization, surveillance, widespread police presence, and a citizenry with little recourse against police actions."
Just as police states have arisen throughout history, there have also been individuals or groups of individuals who have risen up to challenge the injustices of their age. Nazi Germany had its Dietrich Bonhoeffer. The gulags of the Soviet Union were challenged byAleksandr Solzhenitsyn. America had its color-coded system of racial segregation and warmongering called out for what it was, blatant discrimination and profiteering, by Martin Luther King Jr.
And then there was Jesus Christ, an itinerant preacher and revolutionary activist, who not only died challenging the police state of his day—namely, the Roman Empire—but provided a blueprint for civil disobedience that would be followed by those, religious and otherwise, who came after him. Yet for all the accolades poured out upon Jesus, little is said about the harsh realities of the police state in which he lived and its similarities to modern-day America, and yet they are striking.
Secrecy, surveillance and rule by the elite. As the chasm between the wealthy and poor grew wider in the Roman Empire, the ruling class and the wealthy class became synonymous, while the lower classes, increasingly deprived of their political freedoms, grew disinterested in the government and easily distracted by "bread and circuses." Much like America today, with its lack of government transparency, overt domestic surveillance, and rule by the rich, the inner workings of the Roman Empire were shrouded in secrecy, while its leaders were constantly on the watch for any potential threats to its power. The resulting state-wide surveillance was primarily carried out by the military, which acted as investigators, enforcers, torturers, policemen, executioners and jailers. Today that role is fulfilled by increasingly militarized police forces across the country.
Widespread police presence. The Roman Empire used its military forces to maintain the "peace," thereby establishing a police state that reached into all aspects of a citizen's life. In this way, these military officers, used to address a broad range of routine problems and conflicts, enforced the will of the state. Today SWAT teams, comprised of local police and federal agents, are employed to carry out routine search warrants for minor crimes such as marijuana possession and credit card fraud.
Citizenry with little recourse against the police state.As the Roman Empire expanded, personal freedom and independence nearly vanished, as did any real sense of local governance and national consciousness. Similarly, in America today, citizens largely feel powerless, voiceless and unrepresented in the face of a power-hungry federal government. As states and localities are brought under direct control by federal agencies and regulations, a sense of learned helplessness grips the nation.
Perpetual wars and a military empire. Much like America today with its practice of policing the world, war and an over-arching militarist ethos provided the framework for the Roman Empire, which extended from the Italian peninsula to all over Southern, Western, and Eastern Europe, extending into North Africa and Western Asia as well. In addition to significant foreign threats, wars were waged against inchoate, unstructured and socially inferior foes.
Martial law. Eventually, Rome established a permanent military dictatorship that left the citizens at the mercy of an unreachable and oppressive totalitarian regime. In the absence of resources to establish civic police forces, the Romans relied increasingly on the military to intervene in all matters of conflict or upheaval in provinces, from small-scale scuffles to large-scale revolts. Not unlike police forces today, with their martial law training drills on American soil, militarized weapons and "shoot first, ask questions later" mindset, the Roman soldier had "the exercise of lethal force at his fingertips" with the potential of wreaking havoc on normal citizens' lives.
A nation of suspects. Just as the American Empire looks upon its citizens as suspects to be tracked, surveilled and controlled, the Roman Empire looked upon all potential insubordinates, from the common thief to a full-fledged insurrectionist, as threats to its power. The insurrectionist was seen as directly challenging the Emperor. A "bandit," or revolutionist, was seen as capable of overturning the empire, was always considered guilty and deserving of the most savage penalties, including capital punishment. Bandits were usually punished publicly and cruelly as a means ofdeterring others from challenging the power of the state. Jesus' execution was one such public punishment.
Acts of civil disobedience by insurrectionists.Starting with his act of civil disobedience at the Jewish temple, the site of the administrative headquarters of the Sanhedrin, the supreme Jewish council, Jesus branded himself a political revolutionary. When Jesus "with the help of his disciples, blocks the entrance to the courtyard" and forbids "anyone carrying goods for sale or trade from entering the Temple," he committed a blatantly criminal and seditious act, an act "that undoubtedly precipitated his arrest and execution." Because the commercial events were sponsored by the religious hierarchy, which in turn was operated by consent of the Roman government, Jesus' attack on the money chargers and traders can be seen as an attack on Rome itself, an unmistakable declaration of political and social independence from the Roman oppression.
Military-style arrests in the dead of night. Jesus' arrest account testifies to the fact that the Romans perceived Him as a revolutionary. Eerily similar to today's SWAT team raids, Jesus was arrested in the middle of the night, in secret, by a large, heavily armed fleet of soldiers. Rather than merely asking for Jesus when they came to arrest him, his pursuers collaborated beforehand with Judas. Acting as a government informant, Judas concocted a kiss as a secret identification marker, hinting that a level of deception and trickery must be used to obtain this seemingly "dangerous revolutionist's" cooperation.
Torture and capital punishment. In Jesus' day, religious preachers, self-proclaimed prophets and nonviolent protesters were not summarily arrested and executed. Indeed, the high priests and Roman governors normally allowed a protest, particularly a small-scale one, to run its course. However, government authorities were quick to dispose of leaders and movements that appeared to threaten the Roman Empire. The charges leveled against Jesus—that he was a threat to the stability of the nation, opposed paying Roman taxes and claimed to be the rightful King—were purely political, not religious. To the Romans, any one of these charges was enough to merit death by crucifixion, which was usually reserved for slaves, non-Romans, radicals, revolutionaries and the worst criminals.
Jesus was presented to Pontius Pilate "as a disturber of the political peace," a leader of a rebellion, a political threat, and most gravely—a claimant to kingship, a "king of the revolutionary type." After Jesus is formally condemned by Pilate, he is sentenced to death by crucifixion, "the Roman means of executing criminals convicted of high treason." The purpose of crucifixion was not so much to kill the criminal, as it was an immensely public statement intended to visually warn all those who would challenge the power of the Roman Empire. Hence, it was reserved solely for the most extreme political crimes: treason, rebellion, sedition, and banditry. After being ruthlessly whipped and mocked, Jesus was nailed to a cross.
As Professor Mark Lewis Taylor observed:
The cross within Roman politics and culture was a marker of shame, of being a criminal. If you were put to the cross, you were marked as shameful, as criminal, but especially as subversive. And there were thousands of people put to the cross. The cross was actually positioned at many crossroads, and, as New Testament scholar Paula Fredricksen has reminded us, it served as kind of a public service announcement that said, "Act like this person did, and this is how you will end up."
Jesus—the revolutionary, the political dissident, and the nonviolent activist—lived and died in a police state. Any reflection on Jesus' life and death within a police state must take into account several factors: Jesus spoke out strongly against such things as empires, controlling people, state violence and power politics. Jesus challenged the political and religious belief systems of his day. And worldly powers feared Jesus, not because he challenged them for control of thrones or government but because he undercut their claims of supremacy, and he dared to speak truth to power in a time when doing so could—and often did—cost a person his life.
Unfortunately, the radical Jesus, the political dissident who took aim at injustice and oppression, has been largely forgotten today, replaced by a congenial, smiling Jesus trotted out for religious holidays but otherwise rendered mute when it comes to matters of war, power and politics. Yet for those who truly study the life and teachings of Jesus, the resounding theme is one of outright resistance to war, materialism and empire.
As Professor Taylor notes, "The power of Jesus is one that enables us to critique the nation and the empire. Unfortunately, that gospel is being sacrificed and squandered by Christians who have cozied up to power and wealth." Ultimately, this is the contradiction that must be resolved if the radical Jesus—the one who stood up to the Roman Empire and was crucified as a warning to others not to challenge the powers-that-be—is to be an example for our modern age.
John W. Whitehead is founder and president of The Rutherford Institute, a nonprofit civil liberties and human rights organization, and author of A Government of Wolves: The Emerging American Police State.


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Nestlé Toll House Café by Chip celebrated the opening of its first location in Plano, Texas, on Saturday, February 1. The café, located in the center court of Collin Creek Mall, is the second of 18 new cafés set to open under a long-term master lease agreement signed in October 2013 with Rouse Properties Inc., a national owner and operator of regional enclosed malls.
Local franchisee Venkata Kanyaboyina signed an agreement to open a second Nestle Toll House Café at Town East Mall in Mesquite, Texas.
"Let's face it, there aren't many things in life more enjoyable than a warm, freshly baked Nestle Toll House cookie," Kanyaboyina says. "If the aroma doesn't hook you, your first bite will. And when you pair it with a cup of hot and delicious premium coffee, it's like going on a mini-vacation. That brief, indulgent escape is what we want to deliver to the shoppers here at Collin Creek Mall, along with our crepes, panini sandwiches, and other tasty treats."
The new café is just the second in the country to feature Nestle Toll House Café's enhanced kiosk concept, including soft seating, digital menus displayed on eight LED screens, and an upgraded design that showcases the brand's distinctive product offerings in a more efficient and attractive manner.
"Every new café opening is exciting, but Collin Creek is extra special because it's one of the first to open under our alliance with Rouse Properties," says Shawnon Bellah, senior vice president of international operations for Nestle Toll House Cafe. "Our brand is growing rapidly, but strategically, here in the United States as well as in Canada and overseas. Having a partner like Rouse that gives us entrée to the center courts of nearly 20 leading malls is a tremendous asset to our company."


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I have a new column in Larry Sabato's Crystal Ball on the striking absence of Obama administration scandals. Here's how it begins:
One of the least remarked upon aspects of the Obama presidency has been the lack of scandals. Since Watergate, presidential and executive branch scandal has been an inescapable feature of the American presidency, but the current administration has not yet suffered a major scandal, which I define as a widespread elite perception of wrongdoing. What happened, and what are the odds that the administration's streak will continue?
For more, please read the rest of the column and the research (PDF) on which it is based.


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Fate/Grand Order: First Order.Episode Description:
The story is set in the year 2015, during the final era over which magic still held a strong influence. The humanity survival and security organization Chaldea was established to observe the world that can only be seen by magic and the world that can only be measured by science; as well as to prevent the final extinction of humanity. Thanks to the efforts of many researchers, the path of human history has been ensured for 100 years into the future. However, without warning, the realm of the future that was under constant observation by Chaldea vanished. The extinction of humanity in 2017 was observed—no, confirmed. The apparent cause of the extinction was in the Japanese city of Fuyuki in 2004. In that city, there was an "unobservable realm" which had never existed until now. Chaldea issued the Grand Order for a "Holy Grail Expedition," to investigate, uncover, and possibly destroy the singularity that apparently will cause the extinction of humanity.


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The Hitchhiker's Guide to the Galaxy has this to say on the subject of flying.
There is an art, it says, or, rather, a knack to flying.
The knack lies in learning how to throw yourself at the ground and miss.
Pick a nice day, it suggests, and try it.
The first part is easy.
All it requires is simply the ability to throw yourself forward with all your weight, and the willingness not to mind that it's going to hurt.
That is, it's going to hurt if you fail to miss the ground.
Most people fail to miss the ground, and if they are really trying properly, the likelihood is that they will fail to miss it fairly hard.
Clearly, it is this second part, the missing, which presents the difficulties.
One problem is that you have to miss the ground accidentally. It's no good deliberately intending to miss the ground because you won't. You have to have your attention suddenly distracted by something else when you're halfway there, so that you are no longer thinking about falling, or about the ground, or about how much it's going to hurt if you fail to miss it.
It is notoriously difficult to prize your attention away from these three things during the split second you have at your disposal. Hence most people's failure, and their eventual disillusionment with the exhilarating and spectacular sport.
If, however, you are lucky enough to have your attention momentarily distracted at the crucial moment by, say, a gorgeous pair of legs (tentacles, pseudopodia, according to phyllum and/or personal inclination) or a bomb going off in your vicinity, or by suddenly spotting an extremely rare species of beetle crawling along a nearby twig, then in your astonishment you will miss the ground completely and remain bobbing just a few inches above it in what might seem to be a slightly foolish manner.
This is a moment for superb and delicate concentration.
Bob and float, float and bob.
Ignore all considerations of your own weight and simply let yourself waft higher.
Do not listen to what anybody says to you at this point because they are unlikely to say anything helpful.
They are most likely to say something along the lines of "Good God, you can't possibly be flying!"
It is vitally important not to believe them or they will suddenly be right.
Waft higher and higher.
Try a few swoops, gentle ones at first, then drift above the treetops breathing regularly.
When you have done this a few times you will find the moment of distraction rapidly becomes easier and easier to achieve.
You will then learn all sorts of things about how to control your flight, your speed, your maneuverability, and the trick usually lies in not thinking too hard about whatever you want to do, but just allowing it to happen as if it were going to anyway.
You will also learn how to land properly, which is something you will almost certainly screw up, and screw up badly, on your first attempt.
There are private flying clubs you can join which help you achieve the all-important moment of distraction. They hire people with surprising bodies or opinions to leap out from behind bushes and exhibit and/or explain them at the critical moments. Few genuine hitchhikers will be able to afford to join these clubs, but some may be able to get temporary employment at them.


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html#facebook.svg margin-top: 13px; uk, if you want to watch the hidden content, please thank this as motivation for the person who posted the message. Thanking him casually is the greatest encouragement. Read the full text
I'm blown away. work!, Realistic "No.520 67P 2B" Ai Images showcasing the maestro's artistic brilliance from a unique perspective. The meticulous detail by the creator is impressive, beautifully capturing each part of the subject. The arrangement is incredibly arranged, enabling the viewer to admire the subject's beauty without feeling burdened. It remains harmonious and enchanting despite the seemingly abundant elements depicted. The artist's talent to convey such depth in their work truly makes this painting a work of art to witness.


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Samsung J327U Combination File U5
All Firmware Samsung For All Series
SAMSUNG_COMBINATION Product SW KNOX Product SW
Removing FRP on Samsung with Combination File
Many people think that they will bypass or remove the FRP lock on Samsung Galaxy just by installing the stock firmware via Odin. I remember doing an equivalent to repair the firmware reset protection on a friend's Galaxy S7 Edge. the reality is, you can't remove FRP lock Google account issue on Samsung mobiles with a traditional firmware flash.
Below, I'll be describing the tactic to flash combination firmware on Samsung devices to get rid of the FRP lock.
1. Download Samsung Firmware
Since we'll be employing a combination of specific firmware binary components, you'll got to download the newest Samsung firmware for your Galaxy device. you'll grab or get the firmware file for your device model from any of the sources mentioned below.
2. Create Samsung Combination File
Okay, now that you simply have downloaded the right firmware for your Samsung Galaxy phone or Tab, it's time to make the mixture firmware to get rid of the FRP lock on your Samsung device.
Samsung J327U Combination File U5
Follow the steps given below to make a mixture firmware from the regular firmware files.
- Extract the downloaded Samsung firmware Zip file. you'll use a zipper archiver like WinRar, 7Zip, PowerArchiver, etc. for the aim .
- Open the extracted folder and you'll find 5 firmware binaries including AP, BL, CP, CSC, and Home_CSC.
- Make sure you'll view the .md5 extension of the files. If you see only .tar, click on the View tab on the Windows Explorer window and check the choice that says 'File name extensions'.
- Now, right-click on the firmware file that starts with AP in its name and choose the rename option and add a .zip extension after .md5.
- Then select the BL file and alter its extension to .zip too
- You can now extract the AP and BL zip files.
- Open the AP folder, copy the boot.img.lz4, and system.img.lz4 files and paste them during a new folder.
- Similarly, open the BL folder and move the file names sboot.img.lz4 to an equivalent new folder.
- Open the folder where you saved the boot.img,lz4, sboot.img.lz4, and system.img.lz4 files. Select all three files and zip them into one file by
- selecting the Compress to "New folder.zip" option from the Windows context menu
- Now, change the Zip extension of latest folder.zip file to .tar and rename it with the firmware name as shown below.
You have successfully created the Samsung combination file to get rid of FRP on your Galaxy device.
Samsung J327U Combination File U5
3. Reset Samsung Device and Enable USB Debugging
Before you proceed to put in the mixture file, you would like to perform a knowledge factory reset. Since you can't do this via the device settings of your Samsung Galaxy phone or Tab, you would like to try to to that via the Recovery Mode. the tactic to access the Recovery mode on Samsung devices dif5fers from model to model. you'll ask my detailed tutorial on booting into the Samsung Recovery Mode.
- Once you get into the Android Recovery menu screen, select the Wipe data/factory reset. you'll use the quantity up/down keys to navigate and therefore the Power button to verify the choice .
- Perform a data/factory reset then select the Reboot system now option.
- When your Samsung device boots up, you'll see the Samsung factory binary screen almost like one like shown below. Tap the mosaic icon on the top-left corner of the screen.
- Doing so will show you the app drawer screen. Navigate to Settings > Developer options and enable USB debugging. If you don't find that
- option, here is how you'll activate the Developer option on Samsung devices.
- Now, close up your phone or tablet device by holding the facility button.
Flash Samsung Combination File with Odin
Okay, you now have the Samsung combination file that you simply created from the stock firmware. you've got also enabled USB debugging on your Galaxy device to make sure that Odin can it. you're ready to get rid of the FRP lock on your Samsung phone or Tab.
Samsung J327U Combination File U5
Download the patched version of Odin and extract the Zip file on your desktop.
- Odin3 3.14.1 3B PatcheD (for devices released 2018)
Odin3 3.13.3 3B PatcheD (for older Samsung models) - Download and install the newest Samsung USB Driver on your Windows PC and reboot your system.
- Open the Odin folder and launch Odin3.exe as an administrator.
- It's time else your Samsung device into the Download Mode
- Connect your device to the pc employing a compatible USB cable.
- When your phone or tablet is recognized by Odin, the ID:COM port are going to be highlighted.
- Click the choices tab in Odin and confirm that only the Auto Reboot and F. Reset Time options are enabled there.
- Then click on the AP button and add the Samsung combination file you created earlier.
- Finally, click the beginning button to trigger the installation.
- Wait until the mixture firmware installation finishes and you're greeted by the PASS!! message in Odin. Your Samsung Galaxy device will reboot automatically.
- Just wait until your device boots up and that's it. you've got successfully removed FRP lock on your Samsung Galaxy smartphone.
Please get the approval to use factory binary (PIT)
Sometimes, Samsung's security feature might block the installation of custom firmware and throw the subsequent error on the Download Mode screen of your Samsung Galaxy device.
To fix this, you'll flash Hell (Partition Information Table) file for your device along side the Samsung combination enter Odin. If you don't skills to urge the right PIT file, read my tutorial describing the steps to extract Samsung PIT from firmware.
Please confine mind that if you put in Hell file, you'll need to check the Re-partition option under the choices tab in Odin also . Moreover, you'll got to add Hell enter Odin by clicking Hell tab in Odin. If the Samsung combination file doesn't assist you to get rid of the FRP lock, you ought to also try the NAND Erase method using Odin.
How To Flash
Follow these steps to enter Download Mode/Odin Mode
Power off your device
Press and hold Volume Down key, tonic key and Power Key
When your device vibrates, release Power key while keep holding the quantity Down key and residential key
Samsung J327U Combination File U5
Warning before getting into download mode
In the initiative cut your phone by holding the facility key for a cpuple of seconds. Then press and hold together Volume Down + Bixby + Power button a few seconds.
After that, you ought to see a menu with two options. Finally, enter Download Mode by pressing Volume Up
Samsung J327U Combination File U5
Connect your device to PC.
Your device should be automatically recognized by Odin. At the lower-left of the Odin interface, it should show a message that says "Included! "Added!" and within the meantime, you ought to see a light-blue box at the ID: COM section stating "COM:3" (the number depend upon which USB port you've got plugged the device cable and is irrelevant).
Click "PDA" or "AP" to feature the tar.md5 file that you "Start".
Whether it's "AP" depends on the version of Odin that you simply used. But the md5 file goes to either "AP".
Samsung J327U Combination File U5
Add *.md5 to Odin.
adding the file, click "Start" the flashing process.
Click "Start" to flash
DO NOT REMOVE OR operate YOUR DEVICE UNTIL FINISHED OR FAILED IS SHOWED ON ODIN.
Samsung J327U Combination File U5
Ongoing flashing process. don't remove your device.
When the flashing process is completed, you ought to see an enormous green box saying "RESET" or "PASSED" (depends on the version of Odin is used). By now, the device should be rebooted and it's safe to remove/unplug your device.
Flash succeeded.
Samsung J327U Combination File U5
Samsung J327U Combination File U5 |
Download Link:: Link |


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- JDAM-ER developed with Australia has glide range of more than 40 miles
- Boeing to produce and integrate wing kits in-country for RAAF
A winged version of the Boeing Joint Direct Attack Munition (JDAM) that will triple the weapon's glide range to more than 40 miles is a step closer to production after completing wind tunnel tests at a U.S. facility in June.
Developed in partnership with the Commonwealth of Australia, the 500-pound JDAM Extended Range (JDAM-ER) features a modular add-on wing kit that will unfold in flight. The kit can also be coupled with other modular enhancements, such as laser sensors. The wings were first integrated with the Boeing JDAM during the Commonwealth's Capability and Technology Demonstration program, which successfully completed flight tests in 2008.
Boeing will produce and integrate the JDAM-ER wing kits for the Royal Australian Air Force (RAAF) under a contract awarded in 2011. The kits will be built in Australia, with initial deliveries expected to begin in early 2015.
"Boeing and our Australian partners have worked closely together to employ affordable technology and the leanest manufacturing processes to cost-effectively enhance JDAM's capabilities," said Debbie Rub, Boeing vice president and general manager for Missiles and Unmanned Airborne Systems. "The JDAM-ER effectively meets the needs of the Commonwealth by providing a greater stand-off capability and making it safer for pilots to prosecute their missions on today's ever-changing battlefields."
"By successfully transitioning this technology from prototype to production, the Australian Defence Force will be able to further reduce the risk to its personnel on operations, allowing RAAF aircrew to engage their targets from beyond the range of enemy air defences," said Jason Clare, Australia's Minister for Defence Materiel. "These enhancements will increase the ability of the RAAF to strike more targets in fewer sorties."
JDAM is a low-cost guidance kit that converts existing unguided bombs into near- precision weapons. Boeing intentionally designed its JDAM kit to be modular so the product could mature with a variety of technological upgrades such as a laser sensor, improved immunity to GPS jamming, and an all-weather radar sensor.
Boeing has built more than 238,000 JDAM tail kits in its St. Charles, Mo., facility since production started in 1998. JDAM is used by 26 international militaries.
Via http://boeing.mediaroom.com/index.php?s=43&item=2397
For more detailed information on the JDAM-ER, here is an excellent web page with much more detail.


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This is a Midwest 1/16 x 1/2 x 24" Basswood Strip. Basswood is a domestic wood cut in Northern Michigan and Wisconsin. It is well liked because of its price point, work-ability and finishing qualities. Its close, tight homogeneous grain structure makes it ideal for a wide variety of hobby, craft and miniature projects. Thin Basswood may be cut with a hobby knife; thicker Basswood requires a saw for cutting. Basswood may be stained or painted to represent any wood type.
- Micro-Cut Quality describes midwests unique approach to producing the finest sheets, strips and blocks world-wide.
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- Machinery is developed in-house because standard, commercial tools do not provide adequate cut tolerances (up to 0.002 inches) in the industry.
- Five step inspection process to meet the most demanding requirements.
This product was added to our catalog on February 28, 2019


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Times go by turns
Saturday | June 21, 2008 open printable versionKristin here—
Last week during the Society for Cognitive Studies of the Moving Image conference here in Madison, I got to talking with Prof. Birger Langkjær of the University of Copenhagen. He asked me some questions about the concept of "turning points" in film narrative as I had used it in my book, Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Specifically he wondered if turning points invariably involve changes of which the protagonist or protagonists are aware. The protagonist's goals are usually what shape the plot, so can one have a turning point without him or her knowing about it?
I couldn't really give a definitive answer on the spot, partly because it's a complex subject and partly because I finished the book a decade ago (for publication in 1999). It seemed worth going back and trying to categorize the turning points in films I analyzed. Describing those turning points more specifically could be useful in itself, and it might help determine to what extent a protagonist's knowledge of what causes those turning points typically forms a crucial component of them.
Characteristics of turning points
Most screenplay manuals treat turning points as the major events or changes that mark the end of an "act" of a movie. Syd Field, perhaps the most influential of all how-to manual authors, declared that all films, not just classical ones, have three acts. In a two-hour film, the first act will be about 30 minutes long, the second 60 minutes, and the third 30 minutes. The illustration at the top shows a graphic depiction of his model, which includes a midpoint, though Field doesn't consider that midpoint to be a turning point.
I argued against this model in Storytelling, suggesting that upon analysis, most Hollywood films in fact have four large-scale parts of roughly equal length. The "three-act structure" has become so ingrained in thinking about film narratives that my claim is somewhat controversial. What has been overlooked is that I'm not claiming that all films have four acts. Rather, my claim is that in classical films large-scale parts tend to fall within the same average length range, roughly 25 to 35 minutes. If a film is two and a half hours rather than two hours, it will tend to have five parts, if three hours long, then six, and so on. And it's not that I think films must have this structure. From observation, I think they usually do. Apparently filmmakers figured out early on, back in the mid-1910s when features were becoming standard, that the action should optimally run for at most about half an hour without some really major change occurring.
Field originally called these changes "plot points," and he defined them as "an incident, or event, that hooks into the story and spins it around into another direction." Perhaps because of that shift in direction, these moments have come more commonly to be called "turning points." But what are they? Field's definition is pretty vague.
In Storytelling I wrote, "I am assuming that the turning points almost invariably relate to the characters' goals. A turning point may occur when a protagonist's goal jells and he or she articulates it .… Or a turning point may come when one goal is achieved and another replaces it." I also assumed that a major new premise often leads to a goal change (p. 29). "Almost invariably" because I don't assume that there are hard and fast rules. As with large-scale parts, my claims about other classical narrative guidelines aren't prescriptive in the way that screenplay manuals usually are.
To reiterate a few other things I said about turning points. They are not always the same as the moments of highest drama. Using Jaws as my example, I suggest that the moments of decision (not to hire Quint to kill the shark and later to hire him after all), rather than the big action scenes of the shark attacks, shape the causal chain (p. 33).
Not all turning points come exactly at the end of a large-scale part of the film (an "act" in most screenplay manuals). A turning point might come shortly before the end of a part, or the turning point may come at the beginning of the new part (pp. 29-30). The final turning point that leads into the climax comes when "all the premises regarding the goals and the lines of action have been introduced" (p. 29).
Most screenplay manuals consider goals to be static. To me, "Shifting or evolving goals are in fact the norm, at least in well-executed classical films" (p. 52). This doesn't mean that the goal changes at every turning point. Instead, the end of a large-scale part may lead to a continuation of the goal(s) but with a distinct change of tactics (p. 28).
One big advantage of talking about different types of turning points is that it allows the analyst to see how the different large-scale parts function. A well-done classical film doesn't just have exposition and a climax with a bunch of stuff in the middle. (Field calls that long second act the "Confrontation" in the diagram above.) I believe that once the setup is over, there is a stretch of "complicating action," which often acts as a sort of second setup, creating a whole new situation that follows from the first turning point. The third part is the "development," which often consists of a series of delays and obstacles that essentially function to keep the complications from continuing to pile up until the whole plot becomes too convoluted. The development also serves to keep the climax from starting too soon. The third turning point is the last major premise or piece of information that needs to be set in place before the action can start moving toward its resolution in the climax.
David uses this approach to large-scale parts in his online essay, "Anatomy of the Action Picture," which discusses Mission: Impossible III.
Returning to some of the examples I used in Storytelling, let's see what sorts of changes their turning points involve. In most of these cases, the protagonist is aware of what is happening, but there are some exceptions or nuances.
1. An accomplishment, later to be reversed
Top Hat: end of setup, Jerry and Dale fall in love, but she soon conceives the mistaken idea that he is married to her best friend. (p. 28)
Tootsie: end of setup, Michael gets a job, but the results will throw his life increasingly into chaos. (p. 60)
Parenthood: end of complicating action, the parents seem to be making progress in solving their problems. (p. 268)
2. Apparent failure, reiteration of goal
The Miracle Worker: end of development, parents remove Helen from cabin, Anne states goal again. (p. 28)
The Silence of the Lambs: turning point comes at beginning of development, Chilton makes Lecter a counter-offer, removing him from the FBI's charge. The FBI's tactic has failed, but soon Clarice visits Lecter to pursue her questioning. (p. 123)
Here's a case where we don't see Clarice learning about Chilton's treacherous undermining of the FBI's efforts. A few scenes later she simply shows up to visit Lecter, and we realize that she has not given up her goal of getting information from him. Clearly a turning point can occur without the main character's knowledge, but he or she will usually learn about it shortly thereafter.
Groundhog Day: end of development. Failure to save old man. No reiteration of goal, which is implicitly that Phil will continue to improve himself. (p. 147)
2a. Failure, new goal
Amadeus: end of complicating action, Salieri declares that he is now God's enemy and will ruin Mozart. (p. 195)
Amadeus is an example of what I call a "parallel protagonist" film. Here Salieri is aware of his own decision, but Mozart never learns that his colleague hates him so. Parallel protagonists have separate goals, but they need not be aware of each other's goals. The same would be true in a film with multiple protagonists, to the extent that they have separate goals.
2b. Failure, lack of goal
Groundhog Day: end of complicating action, suicidal despair. (p. 144)
Amadeus: end of setup, Salieri humiliated by Mozart, conceives strong resentment but no specific goal. (p. 191)
Parenthood: end of development, the parents are all resigned to their failures. (pp. 275-76)
3. Major new premise, reiteration of strategy
Witness: end of complicating action, Carter tells Book to stay hidden. (p. 29)
The Wrong Man: end of complicating action, Manny is freed on bail; he has the chance to try and prove his innocence. (p. 39)
Terminator 2: end of development, Sarah, Terminator, and John steal chip from Cyberdine, continue in their attempt to destroy it. (p. 42)
Amadeus: end of second development, Constanza leaves Mozart, allowing Salieri the access that will permit him to fulfill his goal of killing his rival. (p. 205)
4. Protagonist/Important character makes a decision, then changes or modifies goal
Little Shop of Horrors (1986): end of complicating action, Seymour agrees to kill someone to feed blood to Audrey II. (p. 29)
The Godfather: end of development, Michael says family will go legit, asks Kay to marry him. (p. 30)
Casablanca: end of complicating action, Rick rejects Ilsa's account of her relationship with Victor. (p. 32)
The Producers: end of setup, Leo decides to join Max in committing fraud. (p. 38)
Tootsie: end of complicating action, Michael decides to start improvising Dorothy's lines, setting up "her" success. (p. 64)
Back to the Future: end of development. Martie decides to leave a message for Doc warning him about the Libyan attack; the result is to save Doc from being killed. (p. 94)
Desperately Seeking Susan: end of setup, Roberta apparently decides to pursue Susan, change her boring life. (p. 166)
Such decisions obviously form the basis for turning points fairly frequently, and by definition the protagonist is aware of what is happening.
5. Major Revelation, new goal or move into climax
Witness: end of setup, Book is told the killer is a cop, changes tactics, flees. (p. 28)
Witness: end of development, Book learns partner has been killed, realizes he must act. (p. 29)
The Bodyguard: end of development, revelation of Nikki as villain, attack on house, death of Nikki. (p. 31)
Terminator 2: end of setup, John discovers the Terminator must obey him, sets goals of protection without killing and of rescuing Sarah from the asylum. (p. 41)
Terminator 2: end of complicating action, Sarah realizes that the war can be prevented, conceives goal of killing Dyson. (p. 42)
Tootsie: end of development, Michael's agent tells him he must get out of playing Dorothy without being charged with fraud. (p. 69)
The Silence of the Lambs: end of setup, Clarice finds the body in the warehouse and realizes that Lecter is willing to help her. (p. 115)
The Silence of the Lambs: end of development, Clarice and Ardelia realize "He knew her," the clue that will lead to the solution. (p. 126)
Alien: end of development, revelation that the "company" and Ash are prepared to sacrifice the crew; will lead to decision by survivors to abandon the ship and save themselves. (p. 299)
Such revelations usually involve the protagonist knowing what is happening, but I believe there are exceptional cases where the viewer learns something that the protagonist does not. This kind of revelation often involves either villains turning out to be allies or apparent allies turning out to be villains.
Take the case of Demolition Man. At 54 minutes into the film, about nine minutes before the end of the complicating action, the audience learns that the apparently benevolent Dr. Cocteau (Nigel Hawthorne), who has developed the new pacifist society of Los Angeles, is a ruthless villain. This moment isn't the turning point that ends the complicating action; I take that to be the escape of the "Scraps," the rebels who oppose Cocteau, from their underground prison. Most of those nine minutes consist of the hero, John (Sylvester Stallone) meeting Cocteau and going out to dinner with him. John shows signs of strongly disliking the new society, and he refuses to kill the rebels when they escape. Still, there is no sign that he considers Cocteau a villain. Rather, John thinks of himself as a misfit and expresses a desire to leave the new Los Angeles. The turning point that ends the complication depends on his assumption that Cocteau on his side, even if John considers the leader's bland society to be unattractive.
The development portion is full of typical delays: the scene of John visiting Lenina Huxley's (Sandra Bullock) apartment, where she invites him to have virtual sex, and the following scene of John exploring the odd, modernistic apartment assigned to him. At 74 minutes in, or about six minutes before the end of the development, John begins to learn of Cocteau's true nature. He confronts Cocteau in the latter's office and nearly shoots him. The scene where John tells the members of the police department who remain loyal to him that they will invade the underground prison to capture Cocteau's violent agent, Simon Phoenix (Wesley Snipes) marks the end of the development, with a new, specific goal determining the action of the climax.
Here is a case where for a significant portion of the narrative the protagonist remains ignorant of something that the audience has been shown. Even here, however, John displays a dislike of Cocteau and what he has done to Los Angeles society. Classical films seem disinclined to show their heroes as thoroughly deluded. John's underlying decency and common sense make him ready to distrust a leader whom everyone else, including Lenina, admire.
6. Enough information accumulates to cause the formulation of goals
Back to the Future: end of complicating action, goals of synchronizing with lightning storm, getting Marty's father and mother together at dance. (p. 90)
Desperately Seeking Susan: end of complicating action. Information about gangsters and growing attraction to Dez lead to convergence of Roberta's goals. (p. 170)
Parenthood: end of setup, in this case with multiple goals formed for four separate plotlines.
7. A disaster, accidental or deliberate, changes the characters' situations/goals
The Wrong Man: end of setup, Manny is mistakenly arrested. (p. 39)
Jurassic Park: end of complicating action, Nedry shuts down the electricity grid of the park, letting the dinosaurs loose. (p. 32)
Jaws: end of complicating action; the attack involving his son makes Brody force the mayor to accept his original, thwarted tactic of hiring Quint. (p. 34)
Alien: end of setup, facehugger attaches itself to Kane. The goal conceived shortly thereafter is to investigate it and save him. (p. 292)
Alien: end of complicating action, alien bursts from Kane's stomach; goal becomes to save the crew and ship. (p. 295)
Desperately Seeking Susan: end of development, Roberta's arrest leads to a low point, and she opts to turn to Dez for help. (p. 172)
Amadeus: end of first development, death of Leopold, which Salieri later exploits in his plot against Mozart. (p. 201)
The Hunt for Red October: end of complicating action, Ramius realizes he has a saboteur aboard and needs Ryan's help; Ryan starts planning actively to help him. (p. 233)
8. Protagonist's tactics are blocked or he/she is forced to use the wrong tactics
Jaws: end of setup, Brody's desire to hire Quint rejected. (p. 23)
Back to the Future: end of setup, Doc sets time machine's date; after new large-scale section begins, attack by Libyans accidentally sends Marty back to 1955. (p. 85)
Groundhog Day: end of setup, Phil trapped in repeating time, goal of becoming a network weather forecaster destroyed. He soon opts for irresponsible self-indulgence. (p. 139)
9. Characters working at cross-purposes resolve their differences
Jaws: end of development, the three main characters bond, allowing them to cooperate to kill the shark. (p. 35)
The Hunt for Red October: end of development, Ramius and Ryan make contact, with Captain Mancuso's help, they start working together. (p. 237)
10. A supernatural premise determines a character's behavior
Liar, Liar: end of setup, Max wishes that his father would have a day where he is unable to tell a lie. Also end of complicating action, where Max fails to cancel the wish. (p. 38)
11. The protagonist/major character succeeds in one goal, allowing him/her to pursue another
Liar, Liar: end of development, Fletcher wins his court case, freeing him to try and regain his wife and son. (p. 39)
The Hunt for Red October: end of setup, Ramius learns that the silent feature of his new submarine works; he apparently intends some sort of attack on the US but is in fact plotting an elaborate ruse to defect. (p. 225)
These examples suggest that protagonists usually do know about the major events that form turning points, or they learn about them shortly after they occur. The main exception would seem to be when there are two major parallel characters, one of whom is to some extent villainous, as in the case of Amadeus, where one of the characters is duped. This reminds me of The Producers, where Max and Leo leave the theater early, convinced that they have succeeded in their goal of creating a box-office disaster. Lingering in the theater, the narration allows us to see the transition from audience disgust to fascination. Only after the audience comes into the bar where the two partners are celebrating do they realize what has happened ("I never in a million years thought I'd ever love a show called Springtime for Hitler!") To understand the irony and/or humor in such situations, the film spectator must at least briefly know more than the main characters do.
The examples also confirm that character goals seldom endure unchanged across the length of a film. Revelations, decisions, disasters, supernatural events, and presumably others kinds of causes frequently cause major shifts in characters' goals or at least in the tactics they employ in pursuing them. Even in what seems like a fairly straightforward thriller like Alien, the crew's assumptions that they must loyally protect their spaceship are completely reversed at the end of the development, and the narrative turns into an attack on corporate greed and ruthlessness. Whatever one thinks of classical Hollywood films, they are usually more complex than the three-act model allows for.
Note: My title comes from Robert Southwell's poem of the same name.
[July 11: Jim Emerson has made some insightful comments on this entry on his Scanners blog.]


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I went through a short (five year) spell where I compulsively answered and posted personal ads for the sheer thrill of probable disaster. In the winter of 1999, a delightful man named Pete responded to one of my ads. After exchanging several cordial emails, I decided there was a fair chance he wasn't keen on brandishing machetes, so I offered up my phone number.
He called me one night when my boyfriend Jeff was over. Jeff — yes, my boyfriend — was no stranger to my need to spread my wings of infidelity, so he busied himself with an episode of "Felicity" (the one where Brian Crackhouse raped the pink Power Ranger) while I carried on a merry conversation with Pete about all the various cereals we liked and how it was so hard to choose just one variety each morning.
Pete and I made plans to meet up one fine evening, and to be safe, I invited Janna over too. Because if he were to arrive wielding a chainsaw, at least I'd have a decoy. Minutes before Pete's arrival, Janna called. "My mom won't let me have the car because of the snow. I'm so sorry!" she whined, probably inwardly relieved that now she could stay home and watch PBS.
I tried to call Pete to cancel, but he had already left. I wondered about the possibility of him leaving the piano wire at home, on the kitchen counter, miles away from my vulnerable neck.
But he likes cereal so much, I pep-talked myself. It's hard to imagine a serial killer enjoying a bowl of Apple Jacks, I assured myself, because that's clearly grade A logic to apply.
When I opened the door for Pete, I was taken aback by his unexpected redneck visage. But once we got the handshaking out of the way, he settled down in a chair and conversation flowed freely. I was slightly irritated by his constant abbreviation for cigarette. "Let me light another ciggie," he'd announce, feeling the need to include me in his smoking schedule.
Then he pulled out a joint. I knew not to smoke it with him, because even when I'm with someone I'm supremely close to, my paranoia gets way out of control and of course every person in the tri-state area is vying to rape me. I want to sear my skin with a hot iron, leap from speeding vehicles, watch Olsen Twins videos.
So I did the rational thing in Erin's World and joined him.
On TV, the news reports gave constant updates on the severe weather condition unraveling outside. I kept urging him to leave, and he would respond with obvious insinuations that he wanted to spend the night, which my marijuana-clouded mind translated as, "Imma treat ya like a pig, stuff an apple in yer mouth, and fuck ya silly from the bee-hind, you slutty broad. Who's the cereal king now, ho?"
Oblivious to the pandemonium tap-dancing through my nervous system, he'd jiggle a cigarette between his fingers and say, "Just one more ciggie!" I sat on the couch, hunkered down among the pillows, arms protectively covering my boobs, legs bouncing with the verve and RPM of a bridge-dwelling paranoiac. I had cotton mouth and I wanted to go to bed. Maybe eat a PB&J.
He finally left after I completely closed off and started answering his questions with irate outbursts. I never heard from him again, which is a shame because we could have maybe made beautiful cereal together.
9 Responses to "Pete: A Blind Date"
oh god… lol.
i love this story because it's so, you."But he likes cereal so much, I pep-talked myself. It's hard to imagine a serial killer enjoying a bowl of Apple Jacks, I assured myself, because that's clearly grade A logic to apply."
i ALWAYS love your logic.
You KNOW if WE smoked together, you'd totally rape me in a heart beat.
but you never know.
you might totally like it. -
Oh I remember this! A personal fave.
I was going to reference the above referenced logic as something I particularly liked, but since that refereced has already been referenced, I will abstain, and will instead go sulk since my comment has been STOLEN. kthanx
Really love it, though!
p.ess. I uttered "ridic" today and thought of you.
<3 Thanks for re-reading it Merry! I've been picking some old Blogathon posts to re-write at work, since I only had fifteen minutes to write the originals. It's keeping me off the streets, lol.
Oh my lord girl, this was fantastic! Did you have any more blind dates after that??
Thanks, MB!
I met quite a few people on blind dates. I have pictures of some others so maybe I'll write some more!
Seriously? This may possibly be my most favorite post in the world. Seriously.
I have no other useful bits of wittiness to offer you except to say that this amused me to great lengths, and the way it was written was perfection. I adore you and this site, just from reading it!
You made my day. Thank you for blogrolling me, too! I'm reciprocating the love:)


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- By: admin
- Depression
How can you rebuild a marriage infidelity?
What If It's Just "Doctor"?
Stress can be a real killer, both in the workplace and in our day to day lives. Stress serves a solid purpose in human biology, but our modern lives have brought about a surplus of causes that haunt us from day to day.
"To achieve great things, two things are needed: a plan and not quite enough time."
About Stress Awareness
Stress Awareness Day was set aside as time to be aware of the stress in our lives and how it affects us. Stress Awareness.
The organization is focused on helping employers and employees help each other by providing comprehensive guides to establishing a program within their organization, and individuals by looking after their health and well-being on a day to day basis.
"Calmness is the cradle of power."
How to celebrate Stress Awareness Month?
The best way to celebrate Stress Awareness Day is to take the opportunity to remove the stress from your life for the day. Take the time to examine your life and find out where all the stressors lie and start looking into taking steps to remove them or find ways to mitigate them.


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The Victoria Falls Hotel, built by the British in 1904, was originally conceived as accommodation for workers on the Cape-to-Cairo railway.
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Victoria Falls is a small town – and the major tourist hub - in western Zimbabwe. A famous bridge spans the Zambezi River which is the border between
As befits Zimbabwe's grandest and oldest luxury hotel. The Victoria Falls Hotel presents a connoisseur's delight of dining options, with internationally-trained chefs.
One of the world's Classic five-star hotels commands prime location overlooking Victoria Falls, Zimbabwe, an acclaimed Natural Wonder of the World. A proud member of Leading Hotels of the World, the Edwardian-style hotel, built in 1904, was splendidly redecorated in 2013 to combine its traditional majesty with modern sophistication. For more than 110 years The Victoria Falls Hotel has been a luxury icon in Africa.
Regular News from our "Wonder-of-the-World" destination.