text:
“IN THE PENAL COLONY” (“”) (also translated as “In the Penal Settlement”) is a short story by Franz Kafka written in German in October 1914, revised in November 1918, and first published in October 1919.

The story is set in an unnamed penal colony. Internal clues and the setting on an island suggest Octave Mirbeau's _The Torture Garden_ as an influence.[1] As in some of Kafka's other writings, the narrator in this story seems detached from, or perhaps numbed by, events that one would normally expect to be registered with horror. “In the Penal Colony” describes the last use of an elaborate torture and execution device that carves the sentence of the condemned prisoner on his skin before letting him die, all in the course of twelve hours. As the plot unfolds, the reader learns more and more about the machine, including its origin and original justification.[2]

Plot outline

Characters

There are only four characters, each named according to his role in the story. The Condemned is a man scheduled for execution, the Officer is in charge of the machine that will execute him, the Soldier is responsible for guarding the Condemned, and the Traveller is a European dignitary and visitor.

Synopsis

The story focuses on the Traveller, who is encountering the brutal machine for the first time. Everything about the machine and its purpose is told to him by the Officer. The Soldier and the Condemned, who is unaware that he has been sentenced to die, placidly watch from nearby. The Officer tells of the religious epiphany the executed experience in their last six hours in the machine.

Under the judicial process associated with the machine, the accused is always instantly found guilty, and the law he has broken is inscribed on his body as he slowly dies over a period of 12 hours. Eventually it becomes clear that both the process and the use of the machine have fallen out of favour with the current Commandant. The Officer is nostalgic regarding the torture machine and the values that were initially associated with it. As the last proponent of the machine, he strongly believes in its form of justice and the infallibility of the previous Commandant, who designed and built the device. In fact, the Officer carries its blueprints with him and is the only person who can properly decipher them; no one else is allowed to handle these documents.

The Officer begs the Traveller to speak to the current Commandant on behalf of the machine's continued use. The Traveller refuses to do so and says that he will not speak against it publicly, but will instead give his opinion to the Commandant privately and then leave before he can be called to give an official account. With this, the Officer frees the Condemned and sets up the machine for himself, with the words _“Be Just”_ to be written on him. However, the machine malfunctions due to its advanced state of disrepair; instead of its usual elegant operation, it quickly stabs the Officer to death, denying him the mystical experience of the prisoners he had executed.[3]

Accompanied by the Soldier and the Condemned, the Traveller makes his way to a tea house in which he is shown the grave of the old Commandant. Its stone is set so low that a table can easily be placed over it; the inscription states his followers' belief that he will rise from the dead someday and take control of the colony once more. As the Traveller prepares to leave by boat, he repels the efforts of the Soldier and Condemned to come aboard.

Adaptations

-   In 1969 the story was adapted as a play by Steven Berkoff who also played The Officer.[4]
-   In 1999 Charlie Deaux wrote and directed the short avant-garde film _Zoetrope_, which is loosely based upon the story. The score of the film was written and performed by Lustmord.
-   In 2000 composer Philip Glass wrote a chamber opera, _In the Penal Colony_, based on the story.[5]
-   A 24-minute film adaptation by Turkish-born Canadian filmmaker Sibel Guvenc was released in 2006.
-   In 2009, a young Iranian filmmaker, Narges Kalhor, showed her short film adaptation at the Nuremberg Film Festival.
-   In July 2011, the ShiberHur Theatre Company of Palestine presented a new version of _In the Penal Colony_, adapted by Amir Nizar Zuabi, at London's Young Vic.
-   In 2012 Egyptian independent theatrical group Warsha performed an Arabic language adaption in Cairo directed by Hassan El Geretly.
-   A 40-minute film adaptation created by filmmakers in Las Vegas, Nevada, was completed in 2013 and released on Vimeo in 2014.
-   In 2018 a new theatrical adaptation, _Franz Kafka – Apparatus,_ written and directed by Welsh playwright Ross Dinwiddy, premiered at The Rialto Theatre Brighton as part of the Brighton Fringe.[6] In a departure from the source text, Dinwiddy explores the sexual attraction that develops between The Soldier and The Condemned Man and changes the gender of The Officer from male to female.[7]

Publication history (in English)

-   (1941) Translated by Eugene Jolas, _Partisan Review_, March–April 1941, ppp. 98–107, 146-158.
-   (1948) Translated by Willa and Edwin Muir, in _The Penal Colony_, New York: Schocken Books, 1948.
-   (1995) Translated by Willa and Edwin Muir, in _The Complete Stories_. Ed. Nahum N. Glatzer, New York: Schocken Books, 1995, pp. 140–167. .
-   (1996) Translated by Donna Freed, in _The Metamorphosis and Other Stories_, New York: Barnes & Noble, 1996. .
-   (2007) Translated by Stanley Corngold, in _Kafka's Selected Stories_, Norton Critical Edition, New York: Norton, 2007, pp. 35–59. .
-   (2013) Translated by Peter Wortsman, in _Tales of the German Imagination, from Brothers Grimm to Ingeborg Bachmann_, London: Penguin Classics, 2013. This translation later collected in _Konundrum: Selected Prose of Franz Kafka_, Brooklyn: Archipelago Books, 2016.

In popular culture

Frank Zappa, in the liner notes of the Mothers of Invention album _We're Only in It for the Money_, recommends reading the short story before listening to the track “The Chrome Plated Megaphone of Destiny.”

Ian Curtis of the band Joy Division was inspired by “In the Penal Colony” to write the song “Colony” from the album _Closer_.

Ivan Klíma mentions in his novel Love and Garbage (1986) the first story by Kafka that he had ever read, which was a story of “...a traveler to whom an officer on some island wants to demonstrate, with love and dedication, his own bizarre execution machine.”[8] The narrator is very likely referring to “In the Penal Colony”.

In the 2003 novel _Harry Potter and the Order of the Phoenix_, the antagonist Dolores Umbridge creates a magical object known as “The Black Quill”. Similar to the machine used in Kafka's story, words would be inscribed on the subjects body through scarring when the quill was used. This was utilized as a punishment by having the students of Hogwarts write their cause for punishment with the quill repeatedly, causing immense pain and scarring.

The novel _The Shadow of the Torturer_, by Gene Wolfe, follows the exploits of a member of a guild of torturers. At one point, when giving a tour of the facilities to a condemned prisoner, the head of the guild describes a device identical to the one presented in the short story.

The episodic video game Resident Evil Revelations 2 contains many references to Kafka. Along with being set within an island colony, the first episode is named “The Penal Colony” after the story, and a file found within the game contains an excerpt from “In the Penal Colony.” There is even a room which has a torture device similar to the one described by Kafka with a deceased body under the needled machine.

In Haruki Murakami's novel _Kafka on the Shore_ the protagonist, a boy who calls himself Kafka, admits that “In the Penal Colony” is his favorite of Franz Kafka's short stories. He imagines the machine as “a substitute for explaining the situation we're in.”

The album _Public Strain_ by Canadian rock band Women features the song “Penal Colony”, which references Kafka's story.

[1]

[2] For a study of the story in relation to the British penal colony Port Arthur, Tasmania, see

[3]

[4] Church, Michael (16 September 2010). “In the Penal Colony, Music Theatre Wales, Linbury Theatre”. _The Independent_. Retrieved 27 February 2013.

[5] Kinzer, Stephen (6 December 2000). “A Pocket-Size Opera From a Harrowing Kafka Story”. _New York Times_. Retrieved 27 February 2013.

[6]  Brighton Fringe|last=Fringe|first=Franz Kafka: Apparatus {{!}} Brighton|website=www.brightonfringe.org|language=en|access-date=2018-06-22}}

[7]  Fringe Guru|website=brighton.fringeguru.com|language=en|access-date=2018-06-22}}

[8]

title: In the Penal Colony

question: What is the message that Kafka is attempting to convey in The Penal Colony?

answer: It is unclear from the article, and without reading the text itself it is not possible to surmise what his message might be.

question: Why is The Penal Colony such an influential story?

answer: It isn't made clear in this article. The reason likely lies in the way science fiction carries themes that are transferable across time and how these themes resonate with those that read them.

question: What is the purpose of the machine?

answer: To execute people by marking them with the crime they've committed. This is a punishment handed out to convicted criminals.

question: Has the story been adapted in recent years?

answer: Yes, between 1969 and 2018 the story has been adapted or has inspired other works.


split: train

text:
On the last day she lived here we went to the sea. It was a dark grey summer morning and it was beautiful, like dusty broken glass, and the waves broke over the shore that was stained dark by the clouds overhead. Humidity hung low and heavy in the air, as palpable as the sand between our toes, but her smile filled the grey air around us and made the late summer chill a little bit warmer. She shivered in a one-piece; I danced circles around her in a summer dress and changed into a bikini behind the tallest rocks on the beach.

What’s the worst that could have happened that day? She had already died once, her heart sputtered and skipped like a car battery after a jump and restarted and she woke up in a hospital bed with cold hands, broken ribs, a totaled car, and family, nerve-wracked and hands wringing, in the waiting room. She told me that she saw the stars for a few seconds, dark and cold and farther away than they should have been, and the first thing that came back was sound, and she heard everything, but there was nothing she could do.

It could have been hours or minutes. We swam far out past the rocks, farther than I’d ever gone, and then she swam back and I sunk like a stone. It was dark underwater, and the sky dropped out from above me and the sand dropped out from below and all there was left was dark green brown mud, and it was the end of me, I was certain, and I knew I would be entombed in the sea. There were snakes there, coiling around my ankles, slimy and soft, and I kicked them away and kept kicking but the undertow pulled me further and further under and there were more, and more, until she grabbed a fistful of my hair and hauled me out from the ocean and pulled me onto the seashore.

When I woke up with the grey air all around me she was gone, and the sand between my toes was cold and wet and it was high tide and the sun peeked through jagged holes in the clouds above. When I hauled myself to my feet I ran to the tallest rocks on the beach, clambered up them, and dug my toes into the algae to try and hold on, and I looked out across the parking lots and fields and train tracks strewn all around me helter-skelter like the toys we used to share for as long as I could remember, and she was gone, she was gone and I was alone with the sea on a dark grey summer afternoon, with the seaweed and the rip tide that almost dragged me under and kept me there, and I pretended the tears on my cheeks were saltwater left over from when the ocean washed over me.

I walked the three miles home along the side of a highway without shoes on, and I didn’t see one car. I passed her house on the way back to mine and all that was left on the sidewalk was ripped-out floral wallpaper and her mother’s sweet jar, broken, and the vans were gone and the car was gone and the lights were off and the gate was locked and the lock was changed and the key I’d had to that lock since before I could talk had already sunk to the bottom of the ocean.

I tried to write her letters but they all came back returned to sender, and she never did send me her new phone number. I tried to look her up in her new city’s phonebook that I had to mail order specially, but all I could find was a hair removal specialist and a hair replacement specialist, so I gave up.

There were so many things I wanted to ask her, like if she remembered the time we danced to Björk in our underwear, or if she remembered all the cookies we stole out of that broken sweet jar, or if she had kept even a little scrap of the wallpaper that had covered her room that we covered in stickers and doodles and hearts. I wanted to know if she still listened to my mixtapes, shouting along to Hooked on a Feeling in her shitty old econobox Camry. I needed to know, so I tried and tried to find her, and I tried and tried and tried, but she was gone. Every day, she was as gone as when I first woke up on that grey sand beach, salt water rising in my throat and pouring out my eyes. So I gave up.

Even after all that, I did see her just once after our day at the beach. It was years past, and we were out of college then. We were at a train station in the city, and I saw her across the platform, immaculately clothed with hair pulled neat into a bun by countless bobby pins, and she saw me, comfortable but ragged in a summer dress I’d been wearing for years and drooping socks with frayed edges, and we sat together, and the silence settled around us and hung heavy on our shoulders. I asked her if she remembered the day by the seashore, and she asked me if I remembered the day I kissed her for the first time, and her voice was as ragged as her sweater—which is to say, not at all—and I didn’t answer, and I couldn’t answer, and if I had waited for us to be okay I could have been waiting for a hundred lifetimes.

> so, that's it. i would appreciate some feedback. i'm arranging a portfolio for applying to colleges and i'm not ashamed to admit i'm pretty proud of this piece, but it definitely needs critiquing. my concerns pretty much reside in the second-to-last paragraph, which was added after everything else was written because i thought of the line "I wondered if she remembered that time we danced to Björk in our underwear" and wanted to be able to work it into the piece.

title: [RF] Nonperfusion -- feedback please?

question: Summarize how the narrator almost died and was saved.

answer: She was hanging out with a friend late at night in the water and it seems like she got picked up by a rip tide. Suddenly she was submerged-something it seems she did not fight. Snakes were even at her ankles when her friend gripped her hair and dragged her out of the water and onto the beach.

question: Summarize what happened when the narrator came to.

answer: The narrator found herself on a beach, on the seashore, cold and muddy. Their friend was gone, and would remain gone for many years to come. The narrator walked three hours and passed their friend's house, but no one occupied it, and their belongings were askew on the sidewalk.

question: Describe the relationship between the narrator and their friend.

answer: It seems they were very close, and perhaps shared romantic feelings- or the narrator's own romantic inclinations were strong but unrequited. Maybe the friend fought off her own feelings and pretended not to share in them. The two of them clearly spent many hours together just enjoying one another's company.

question: Summarize how the two became friends.


text:
_HOLOMAMOEA_ is a genus of South Pacific intertidal spiders containing the single species, _HOLOMAMOEA FOVEATA_. It was first described by Raymond Robert Forster & C. L. Wilton in 1973,[1] and has only been found in New Zealand.[2]

[1]

[2]

title: Holomamoea

question: What is Holomamoae?

answer: a genus of South Pacific intertidal spiders containing the single species, Holomamoea foveata

question: Who first described the genus Holomamoea?

answer: Raymond Robert Forster & C.L. Wilton

question: When was Holomamoea first described?

answer: 1973

question: Where is Holomamoae found?

answer: New Zealand

question: Write a ~1 sentence summary.

answer: Holomamoae is a genus of South Pacific intertidal spiders containing the single species, Holomamoea foveata.


text:
[Qld councils in move to de-amalgamate]

Four regions in Qld are voting to de-amalgamate from their super councils this weekend, taking back responsibility over local parks and rubbish collection

Image:

Michael Kelley/Stone+

[Qld councils in move to de-amalgamate]

Four regions in Qld are voting to de-amalgamate from their super councils this weekend, taking back responsibility over local parks and rubbish collection

Image:

Michael Kelley/Stone+

_This weekend, in an Australian first, residents of four Queensland communities will vote on whether to break away from their super councils. The polls offer voters the decision to gain back more control over their communities at the cost of what are likely to be considerably higher rates._

Five years since the then Beattie Government controversially forced Queensland councils to amalgamate into super councils, four communities are being given the chance to decide their own fate.

Fulfilling an election promise, the Liberal National Party last year called on unhappy communities to submit their case for de-amalgamation. Of 19 former councils that sought to be reinstated, only four have been deemed by the state government to be eligible. They’re Douglas and Mareeba in the Far North, Livingston in Central Queensland, and Noosa on the Sunshine Coast. Now it’s up to 76,000 voters in those former council areas to decide. Local Government Minister, David Crusifulli, says it’s a historic event.

'Politicians come and go,' he says. 'They go from roosters to feather dusters in the blink of an eye. But this is an opportunity for people to actually vote for their system of governance. There’s been some historic referendums, obviously, but even changes to the constitution don’t alter your system of governance in the way that this will.'

Minister Crusifulli says voters will have a tough decision to make—choosing whether it is worth the financial cost in the long run to get their community back.

The tourism mecca of Noosa is considered the most likely to succeed in divorcing its super council. According to the Queensland Treasury Corporation, of the four councils, the cost of de-amalgamation will be lowest for individual ratepayers in Noosa. The QTC has forecast a cost of $13.6 million. That would mean a $260 rate rise in the first year, and a $142 rate rise in subsequent years.

Sunshine Coast Regional Council mayor, Mark Jamieson, doesn’t want Noosa to break away.

'Whilst I respect their right, and they’ve fought a long, hard battle for the right to vote, I think the wrong they’re trying to right may not necessarily occur as a result of their actions,' Mayor Jamieson says. 'A lot has changed since amalgamation occurred in 2008, and the Sunshine Coast, despite significant impacts of the GFC and other challenges, has really grown and developed as a region. And a region that speaks with a single voice is going to be in a superior position in terms of support from federal and state governments.'

But fellow Sunshine Coast councillor, Russell Green, who wants to be the new Noosa mayor, argues his community would be better served by a council that’s small and responsive.

'There’s a—particularly in an operational sense—range of areas where you can see where services have been reduced,' he says. 'And through the Sunshine Coast Council, which I’ve been part of, we’ve had to try and find efficiencies... we’ve had to reduce levels of services right across the coast, including Noosa.'

Proponents of de-amalgamation argue Noosa has been cross-subsidising other parts of the Sunshine Coast, but Mayor Jamieson says that’s not the case.

'Noosa contributes about 20 per cent of revenues to the Sunshine Coast and in turn about 20 per cent of total revenues are spent back in the Noosa and district region,' he says. 'So there is no notion of a cash cow. It’s important to remember that at the time of amalgamation, the debt per head of population in Noosa was about $950 per head; immediately on amalgamating with the Maroochy and Caloundra Councils that in fact reduced to about $650 a head.'

About 51,000 people live within the old Noosa Shire boundaries, from the coast to the hinterland. Of these, about 36,000 are on the electoral role. Voting in the referendum is compulsory and Minister Crusifulli says either side simply needs a majority to win.

'I want everybody to vote so there is no ambiguity,' he says. 'There [is] still some really strong passion out there and what we have to do is make sure that the regional councils—whether that be through unsuccessful votes if there are any this weekend, or those who weren’t able to progress because they weren’t able to show an argument that they could create two viable entities—we need to actually make sure that there is true buy-in from the regional councils.'

If the ‘yes’ vote gets up in any of those four local government areas, Minister Crusifulli says those new entities will come into existence from 1 January 2014.

'It gives eight or nine months to make a seamless transition,' he says. 'We’ll put in place a committee that can actually do that, to make sure that on Day One bins get collected and plant and equipment’s ready to go. We’ll have an election at the back end of that process, so that there’s a new council that can roll up its sleeves from 1 January, and we’ll move forward like that.'

While this will be Australia’s first referendum on de-amalgamation, it’s not entirely new ground. Eight years after the Kennett government reduced the number of Victorian councils from over 200 to 78, one of the merged councils, Delatite Council on the foothills of the alps, was split back into the Benalla Shire and Mansfield Shire Councils following a sustained community campaign.

Russell Bate sat on the first Mansfield Council immediately after de-amalgamation, and is now mayor.

'During those first four years post de-amalgamation, there were no major glitches,' he says. 'It went comparatively smoothly.'

While the process was expensive, it didn't leave the council with unsustainable debt, Mr Bates says. In the year after de-amalgamation, both new councils increased their rates by over 30 per cent, but since then rate increases over the past eight years have been around 5 to 6 per cent, Mr Bates says.

'Mansfield’s doing OK nine years down the track,' he says. 'And I think you would struggle to find anyone in the shire who would suggest that they’d still rather be part of Delatite; in fact, I think you’d find it well nigh impossible.'

_Listen to Cathy Van Extel's report on RN Breakfast._

question: What is the trade-off in splitting the super-councils?

answer: The residents would gain more control over the communities but they would have to pay higher rates in return.

question: Why is the vote considered a historic event?

answer: The vote will allow residents to vote for the system of governance that they want.

question: Why is Noosa the most likely to leave the super-council?

answer: The rates increase is will be the lowest in the area.

question: What are the arguments for and against the split?

answer: A large council that speaks with a single voice is more likely to get support from of state and federal government. On the other hand, Russell Green, the counselor vying for the position of mayor, believes that a small, responsive council is better for the area.

question: Why will it take about nine months to transition after a successful vote?

answer: Because the new council will need time to put in place the services that had previously been supplied by the super council. There will also have to be an election in each of the breakaway councils.


text:
MICHA is the thirty-third chapter of the Book of Isaiah in the Hebrew Bible or the Old Testament of the Christian Bible. This book contains the prophecies attributed to the prophet Isaiah, and is a part of the Book of the Prophets. The Jerusalem Bible groups chapters 28-35 together as a collection of “poems on Israel and Judah”.[1]

Text

The original text was written in Hebrew language. This chapter is divided into 24 verses.

Textual witnesses

Some early manuscripts containing the text of this chapter in Hebrew are of the Masoretic Text tradition, which includes the Codex Cairensis (895), the Petersburg Codex of the Prophets (916), Aleppo Codex (10th century), Codex Leningradensis (1008).

Fragments containing parts of this chapter were found among the Dead Sea Scrolls (3rd century BC or later):

-   1QIsaa: complete
-   1QIsab: extant verse 1
-   4QIsac (4Q57): extant verses 2‑8, 16‑23

There is also a translation into Koine Greek known as the Septuagint, made in the last few centuries BCE. Extant ancient manuscripts of the Septuagint version include Codex Vaticanus (B; 𝔊B; 4th century), Codex Sinaiticus (S; BHK: 𝔊S; 4th century), Codex Alexandrinus (A; 𝔊A; 5th century) and Codex Marchalianus (Q; 𝔊Q; 6th century).

Parashot

The _parashah_ sections listed here are based on the Aleppo Codex.[2] Isaiah 33 is a part of the _Prophecies about Judah and Israel (Isaiah 24–35)_. {P}: open _parashah_; {S}: closed _parashah_.

    {S} 33:1 {S} 33:2-6 {P} 33:7-9 {S} 33:10-12 {P} 33:13-24 {S}

Verse 1

New King James Version:

    _Woe to you who plunder, though you have not been plundered;_
    _And you who deal treacherously, though they have not dealt treacherously with you!_
    _When you cease plundering,_
    _You will be plundered;_
    _When you make an end of dealing treacherously,_
    _They will deal treacherously with you._

Verse 20

New King James Version:

    _Zion, the city of our appointed feasts_

The reference is to the three pilgrimage festivals of Pesach (_Passover_), Shavuot (_Weeks_ or _Pentecost_), and Sukkot (_Tabernacles_, _Tents_ or _Booths_) when the ancient Israelites living in the Kingdom of Judah would make a pilgrimage to the Temple in Jerusalem.

Verses 21 and 23a

Revised Standard Version:

    _But there the Lord in majesty will be for us_

        _a place of broad rivers and streams,_
        _where no galley with oars can go,_
        _nor stately ship can pass._
        _..._

    _Your tackle hangs loose;_

        _it cannot hold the mast firm in its place,_
        _or keep the sail spread out._

These verses are interrupted by verse 22, which is better placed after verse 23a.[3]

A marginal note in the Masoretic Text tradition indicates that verse 21 is the middle verse of the Book of Isaiah in Hebrew.[4]

Verse 22

King James Version:

    ''For the Lord is our judge, ''
    ''the Lord is our lawgiver, ''
    _the Lord is our king;_
    _he will save us._[5]

Verse 22 in Hebrew

Masoretic text/Dead Sea Scrolls (read from right to left):

    כי יהוה שפטנו

        יהוה מחקקנו
        יהוה מלכנו

    הוא יושיענו

Transliteration:

     ,

        ;

        ,

    .

[1] Jerusalem Bible (1966), Isaiah section E: Poems on Israel and Judah

[2] As implemented in the Jewish Publication Society's 1917 edition of the Hebrew Bible in English.

[3] Jerusalem Bible (1966), Isaiah 33

[4]

[5]

title: Isaiah 33

question: Write a ~2 sentence summary.

answer: This article highlights the versions of Micha, which is the third chapter of the book of Isaiah, which contains the book of the prophecies of the prophet Isaiah. The book, located in the old testament, was initially written in Hebrew.


text:
ROBERT 'BOB' JAMES MCCASKILL (27 September 1895 – 23 June 1952) was an Australian rules footballer who played for Richmond in the Victorian Football League (VFL) during the 1920s and coached both North Melbourne and Hawthorn.

Early life

Born in Cobram in 1895, McCaskill spent his childhood growing up around Numurkah near Shepparton, Victoria. It was here that he learnt to play the cornet. He was also a fast running wingman and in 1914 his team, Shepparton, lost the Goulburn Valley Football League grand final.

In December 1915 with the fighting in Europe during World War I McCaskill enlisted in Shepparton only to be discharged in May 1916 for synovitis of the knee. He was issued with the service number 36704. He travelled to Royal Park in Melbourne in September 1916 to enlist again with the Australian Army. He was passed fit on this occasion. He fought in Europe rising to the rank of Sergeant. He returned to Australia in June 1919.

Playing career

After the war McCaskill returned to Shepparton where he re-established his business. He began to play football again after a time spend as an umpire. Strong performances while playing for Shepparton in the GVFL he was under the attention of the Richmond Club. At the age of 27 he got a permit to play with Richmond in June 1923. McCaskill was a centreman while at Richmond and played finals football in 1924 with his side eventually finishing second in that year's unique round robin format.

After leaving Richmond he accepted a position at the Bendigo YMCA as secretary. Richmond refused to clear him so he stood out of football for the year.

McCaskill joined Sandhurst, but he wasn't allowed to play the first year of his coaching. He had a lot of success as coach in the Bendigo Football League club, leading them to premierships in 1927, 1929, 1930, 1931, 1932, 1933, 1934, 1939 & 1940.

Coaching career

The outbreak of the Second World War, he again enlisted in 1940 and led the Southern Command Band at Royal Park and later became an Army Amenities Officer. This meant he relocated to Melbourne and the North Melbourne club offered he their coaching position. For most of the 1940s he was the coach of North Melbourne and in 1947 became the first to coach 100 games for the club. They finished the 1945 home and away season in third but lost to Carlton in the first Semi Final thus being eliminated.

He finished his coaching career with a stint at Hawthorn, McCaskill walked into a meeting in the Club's secretary office and announced “Gentlemen, I've decided that I am going to be the coach of Hawthorn Football Club”.[1]

The first decision McCaskill made was to change the jumper from brown with a gold vee to brown and gold vertical stripes, he thought that the change would make the players look bigger and huskier. McCaskill as coach also wanted to make changes to the playing group, starting with Kevin Curran to be captain. Outgoing captain-coach Alec Albiston was angry as he was told by a member of the board that he would remain as captain. Brownlow Medallist Col Austen sided with Albiston and a split occurred. The board sided with the new coach and gave Albiston and Austen open clearances. Without the club’s best two players, the team did not win a match in 1950 but won 4 in 1951.

Late in 1951 McCaskill's health began to fail, in and out of hospital he wasn't well enough to continue coaching, his assistant Jack Hale was appointed caretaker coach in the hope Bob would recover. He died at home on 23 June 1952.[2][3]

Outside Football

A musically gifted man, he could play the cornet. McCaskill was recorded as a Bandmaster when he enlisted with The Army. Later in life McCaskill lead the Bendigo Citizens Band to an Australian championship.

[1] The Hard Way, page 86.

[2]

[3] [http://trove.nla.gov.au/newspaper/article/205402367?searchTerm=bob%20mccaskill%20coach&searchLimits=l-decade=195|||l-year=1952 Well known coach dies, The Argus, 24 June 1952]

title: Bob McCaskill

question: Summarize McCaskill's transition from playing to coaching.

answer: McCaskill was playing football sporadically in Shepparton following the war when he was scouted and picked up by the Richmond Club. It is not clear why Richmond refused to "clear" McCaskill to continue to play in the mid 1920s, but McCaskill would go on to accept a secretary position at the Bendigo YMCA. It might have been that he first accepted the position, and that is why they would not let him play. Either way, he transitioned into coaching for the Bendigo Football League Club and lead them into many premierships from 1927-1940.

question: Summarize how World War I affected football in Australia.


text:
Rider

Rider

My mom has always been supportive of my career as a musician. My dad never got around to it. The only bands he’d ever listen to were the Beatles and Rolling Stones. He wanted the Beatles played at his funeral, which he got. My mom never talks about the music that she listens to  except for her uncle Alan who toured the Midwest in the 50’s as a troubadour;  he’s still famous in our town.

I haven’t been home in a while, not that I miss it much. I moved to LA when I was 23. I was bored by the people at home. I was bored by my job at the grocery store and tired of not seeing anything. When I moved I had most of my” LA-experiences” during the first six months, right drugs- wrong people, that sort of thing. I thought the substances would inspire me as it seemed to inspire others but that never happened. I also played some gigs with local small-timers but it didn't amount to much.

My fourth summer in LA came around and thats when I met Terrie outside a used-car shop. I’d been looking to replace dad’s station-wagon that I’d driven to the coast. As  I was standing there looking over some of my options I saw the glint of peroxide-blonde hair and sweaty fishnet stockings out of the corner of my eye. I remember the coral lipstick, which I later learned was her favorite, so shiny on those lips. She walked up to me to bum a cigarette. As I’d recently quit smoking I apologized and told her I didn’t have any on me. Disappointed, she asked me for a lighter to borrow if she could bum a smoke from a man that was standing by a newsstand across the street. I didn’t have a lighter either but I reached into my vest pocket for the book of matches I always kept there. As I handed it to her she thanked me and smiled in the most heartbreaking way. I knew that I had to make her mine. Although I was more of what you might call the singer-songwriter type than a rocker, this girl with her glam rock look was something else. Underneath that make up I could see that she was pretty in an old-fashioned way. Later, when we were married, I used to tell her that she was like a burning wheat field blowing in the summer wind; she never understood what I meant and said I was a sucker. Our courtship was quick because her parents were very religious. Terrie was only 21 when we married but they consented and gave us their blessing because I was “a good God-fearing Midwestern boy.”

	Through Terrie I got more involved in the scene and discovered I had a knack for writing catchy riffs. I joined some of the locals who were in need of a guitarist and not long after that we played as support band for a famous band on their US tour. Months of touring and debauchery followed but after rising tensions in the band and disagreements with our management we decided to call it quits.

         Then Terrie got pregnant. She was excited but seeing as her job at the record store didn’t pay much and my being unemployed, I was worried to say the least. Fortunately I lucked out in joining as a touring and studio session guitarist with a band that had just signed  deal with a big label. Unfortunately this meant being on the road for long stretches at a time. Things quickly went downhill in our relationship and it was while touring in Japan that I got the terrible news that Terrie had suffered a miscarriage. She was inconsolable and quit her job. I tried to be home as much as I could to care for her but my obligations took me out of town again. Things between us never recovered after that and I blame myself. Two months after the loss of our child I got a call from Roy, a sergeant in the Marines who tells me he’s in love with my wife and she is in love with him and they are going to Germany. While this news hurt at first I can’t say I was surprised; I kept my nose to the grind to give me something else to think about. One tour lead to another and after 5 years the band went through a lineup change and I was thrust into the role of frontman. Evidently I did something right as we quickly started selling out the largest arenas and stadiums. We got through 3 good tours before ticket sales started to dwindle. These days we play to fairly large clubs and such, I don’t complain, seeing as it brings in good money. I live a private and enjoyable life.
	I’ve never met Terrie since our marriage ended but last I heard Roy was killed in a combat exercise and she had gotten remarried to a journalist. Even though our relationship went to pieces I still cherish terrie and our times together.
	At the venues we play the band usually has extensive requirements to ensure their comfort. My only requests on the rider are one ham sandwich and two fingers of bourbon. I usually go out into whichever city we’re playing that night and walk around while eating my sandwich. Even though the band is still fairly popular people seldom recognize me off the stage. I also try to find a bookstore to buy something by a local author for those long flights and bus rides. Just before showtime I’ll find a quiet spot in the venue and raise a glass for my Terrie.

title: Fisrt Post: "Rider"

question: Where did the narrator move to?

answer: Los Angeles.

question: How old was the narrator when he moved?

answer: 23.

question: How did the narrator meet his wife?

answer: She asked him for a cigarette.

question: How did the narrator and Terrie's marriage end?

answer: She fell in love with a marine.

question: Write a ~5 sentence summary.

answer: The narrator takes us on a story through his life as a musician. When his wife gets pregnant, the out of work narrator joins a band as a studio and touring guitarist which keeps him away from his wife for long periods of time. She eventually suffers a miscarriage, and later falls in love with a marine, ending their marriage. The narrator, painfully, keeps on with his life until he lands a leading role in his band, and manages to find great success selling out arenas. Eventually ticket sales die down, but he still enjoys moderate success.


text:
MATTHEW CARTER (born 1 October 1937) is a British type designer.[1] A 2005 _New Yorker_ profile described him as 'the most widely read man in the world' by considering the amount of text set in his commonly used fonts.[2][3]

Carter's career began in the early 1960s and has bridged all three major technologies used in type design: physical type, phototypesetting and digital font design, as well as the design of custom lettering.

Carter's most used fonts are the classic web fonts Verdana and Georgia and the Windows interface font Tahoma, as well as other designs including Bell Centennial, Miller and Galliard.[4][5][6] He is the son of the English historian of printing Harry Carter (1901–1982) and cofounded Bitstream, one of the first major retailers of digital fonts. He lives in Cambridge, Massachusetts.[7]

Early life and education

[Specimens of typefaces by Matthew Carter] Carter grew up in London, the son of Harry Carter, a book designer and later historian of printing. His mother worked in preparing scale drawings.

Although Carter had intended to get a degree in English at Oxford he was advised to take a year off so he would be the same age as his contemporaries who had gone into National Service.

Career

Enschedé

Through his father, Carter arranged to hold an internship at the Joh. Enschedé type foundry in the Netherlands for a year. An extremely long-lasting company with a long history of printing, Enschedé had a history of creating conservative but popular book typefaces. Carter studied manual punchcutting, the method used to make moulds used to cast metal type, under P. H. Raedisch. Punchcutting was a traditional artisanal approach in decline many years before the 1950s. Carter is one of the last people in Europe formally trained in the technique as a living practice.

Carter enjoyed the experience, and decided to move directly into a career in graphic design and printing.

London and New York

Carter's career in type and graphic design has bridged the transition from physical metal type to digital type.

Despite Carter's training in the art of traditional punchcutting, his career developed at a time when metal type was rapidly being displaced by phototypesetting. This reduced the cost of designing and using a wide range of typefaces, since type could be stored on reels of film rather than as blocks of expensively engraved metal. In a book on Carter's career, historian James Mosley, a few years older than Carter, would write of the period of their upbringing:

  The Monotype classic [fonts] dominated the typographical landscape ... in Britain, at any rate, they were so ubiquitous that, while their excellent quality was undeniable, it was possible to be bored by them and to begin to rebel against the bland good taste that they represented. In fact we were already aware by 1960 that they might not be around to bore us for too long. The death of metal type ... seemed at last to be happening.'[8]

Carter eventually returned to London where he became a freelancer. By 1961 Carter was able to use the skills he acquired to cut his own version of the semi-bold typeface Dante. An early example of his work is the masthead logo he designed for the British magazine Private Eye in May 1962, still in use.[9][10] Previously the lettering had been different for the masthead of each issue; it was based on a font ('a bit of nameless juvenilia') which was never ultimately published.[11][12] He also did early work for Heathrow Airport.[13][14]

Carter would later become the typographic advisor to Crosfield Electronics, distributors of Photon phototypesetting machines. Carter designed many typefaces for Mergenthaler Linotype as well. Under Linotype, Carter created well-known typefaces including Snell Roundhand, a script typeface and Bell Centennial, intended for use in the Bell System's phone directories and to celebrate its anniversary.

Based on the work of Robert Granjon a 16th century French engraver, Carter created the sharp, high-contrast family Galliard. This matched a family interest: Carter's father in the 1950s had indexed and examined original type by Granjon at the Plantin-Moretus Museum in Antwerp, and Carter had visited him several times to observe his progress. Carter's adaptation, more intended for display use than for body text, included some eccentricities of Granjon's original design, producing a result unlike many previous revivals of typefaces from the period.[15] Carter wrote of his father's research that it had helped to demonstrate “that the finest collection of printing types made _[by Christophe Plantin]_ in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types.”[16][17]

Carter also advised IBM as an independent consultant in the 1980s.[18]

Bitstream

In 1981, Carter and his colleague Mike Parker created Bitstream Inc.[19] This digital type foundry was one of the largest suppliers of type before its acquisition by Monotype in 2012. The company however did receive extensive criticism for its strategy of cheaply offering digitisations of pre-existing typefaces that it had not designed, often under alternative names (for example, Times New Roman as 'Dutch 801'). While technically not illegal, this selling of large numbers of typefaces on CD would be described by font designer John Hudson as “one of the worst instances of piracy in the history of type”.[20] In his role at Bitstream, Carter designed typefaces, such as Charter, and commissioned others such as Iowan Old Style from John Downer.[21] Bitstream would ultimately be acquired by Monotype in 2012.[22][23]

Carter and Cone

Carter left Bitstream in 1991 and in 1992 formed the Carter & Cone type foundry with Cherie Cone.[24] Carter's recent typefaces have been published by a range of retailers including ITC, Font Bureau and Monotype, often in collaboration with Carter and Cone, together with his custom designs created for companies such as Microsoft.

Of Carter's recent fonts, the serif web font Georgia is inspired by Scotch Roman designs of the 19th century.[25][26] It was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft; this would be released under the name Miller some years later.[27][28][29] Speaking in 2013 about the development of Georgia and Miller, Carter said, “I was familiar with Scotch romans, puzzled by the fact that they were once so popular ... and then they disappeared completely.”[30]

Many of Carter's fonts were created to address specific technical challenges, for example those posed by early computers. Charter was created to use a minimal number of design elements to fit in a small memory space on early computers, a problem that had expired even before he finished the design.[31] The bold versions of Verdana and Georgia are also unusually bold, almost black. Carter noted that, “Verdana and Georgia ... were all about binary bitmaps: every pixel was on or off, black or white ... The bold versions of Verdana and Georgia are bolder than most bolds, because on the screen, at the time we were doing this in the mid-1990s, if the stem wanted to be thicker than one pixel, it could only go to two pixels. That is a bigger jump in weight than is conventional in print series.”[32] Some of Carter's early font digitisations would later be revisited: Monotype released an expanded version of Charter and Font Bureau expanded versions of Georgia, Verdana, Big Caslon and others.[33][34] Earlier in his career, Bell Centennial was created to be legible in telephone directories, even when printed on cheap paper at small sizes.

Carter's only font to bear his name is Carter Sans.[35][36][37] It is a 'glyphic' sans-serif with flaring towards the end of each letter. It was inspired by Albertus, a popular British font created by Berthold Wolpe for Monotype. Carter knew Wolpe early in his career and helped digitise one of his less-known fonts for a 1980 retrospective of his work.[38]

[HWT Van Lanen, in a digital specimen] One of Carter's more unusual projects was a font, Van Lanen, for the Hamilton Wood Type and Printing Museum. A 'Latin'-style wedge serif font, it was released both in digital form and wood type. In an article on it, Carter noted that it has been “50 years since a type of my design had been in a physical form that I could hold in my hand.”[39]

[The Yale University logo, designed in Carter's font Yale] Carter has taught on Yale University's graphic design programme since 1976.[40] He also designed the university's corporate fonts, Yale, at the request of John Gambell, the University Printer.[41][42][43] Carter has said that this was the first time in designing a typeface that he focused more on capital than lowercase letters, since he knew that on the building signs the lettering would be in capitals.[44] Carter wrote that:

  The signs, whether free-standing or attached to walls, reminded me of inscriptions, and this led me to think about the inscriptional origins of Roman caps and the everlasting problem of reconciling capitals with lowercase. For me, the moment when the first true synthesis occurred was in the type of _De Aetna_. This led me in turn to the Beinecke Library to pore over their copy of the book and its type – the archetype of Roman type for me.[45]

Awards

Carter has won numerous awards for his contributions to typography and design, including an _honoris causa,_ Doctorate of Humane Letters from the Art Institute of Boston, an AIGA medal in 1995, the TDC Medal from the Type Directors Club in 1997, and the 2005 SOTA Typography Award. A retrospective of his work, “Typographically Speaking, The Art of Matthew Carter,” was exhibited at the University of Maryland, Baltimore County in December 2002. This retrospective is featured in the documentary, “Typographically Speaking: A Conversation With Matthew Carter.” In 2010, Carter was named a MacArthur Foundation Fellow, otherwise known as a “genius” grant.[46] In 2011, he received the Lifetime Achievement Award from the National Design Awards at the White House. He is a member of Alliance Graphique Internationale (AGI), has served as chairman of ATypI, is a member of the board of directors of the Type Directors Club, and is an _ex officio_ member of the board of directors of the Society of Typographic Aficionados (SOTA). Some of Carter's designs are in the collection of the St. Bride Printing Library in London.[47]

Carter was appointed Commander of the Order of the British Empire (CBE) in the 2020 Birthday Honours for services to typography and design.[48][49]

Typefaces

Matthew Carter's typefaces include the following:

-   Alisal[50]
-   Bell Centennial[51][52]
-   Big Caslon[53][54][55][56]
-   Big Figgins
-   Big Moore
-   Carter Sans
-   Cascade Script[57]
-   Charter[58]
-   Cochin (adaptation)[59]
-   Elephant (later republished as Big Figgins)

-   Fenway
-   ITC Galliard
-   Gando
-   Georgia[60]
-   Helvetica Compressed[61]
-   Helvetica Greek
-   Mantinia[62][63]
-   Meiryo (Latin range)

-   Miller[64]
-   Monticello[65]
-   Nina
-   Olympian[66]
-   Rocky[67]
-   Roster
-   Shelley Script[68]
-   Sitka
-   Snell Roundhand[69]
-   Skia

-   Sophia[70]
-   Stilson[71]
-   Tahoma
-   Van Lanen[72][73]
-   Verdana[74][75]
-   Vincent
-   Walker[76]
-   Wilson Greek
-   Yale

Besides Carter's commercially released fonts, many of his designs have been privately commissioned for companies for their own use. These include work for _Le Monde_, the _New York Times_, _Time_, _The Washington Post_, the _Boston Globe_, _Wired_, and _Newsweek_.[77] Some of these fonts would later be released commercially. An example of this is Roster, which is based on a smaller family created under the name of _Wrigley_ for _Sports Illustrated_ magazine, and Stilson, originally proprietary to the _Washington Post_ and named 'Postoni'.[78][79]

Seven of Carter's typefaces are in the permanent collection of the Museum of Modern Art. MoMA acquired these in 2011. The typefaces were displayed in the MoMA's _Standard Deviations_ exhibition of 2011–12. The seven typefaces are Bell Centennial, Big Caslon, ITC Galliard, Mantinia, Miller, Verdana and Walker.

[1] A Man of Letters , U.S. News & World Report, 1 September 2003.

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[79]

title: Matthew Carter

question: Explain why Carter decided to design a typeface that focused more on capital letters than lowercase letters.

answer: Since he knew that on the building signs the lettering would be in capitals.


text:
JOSEPH CLÉOPHAS LÉGER (September 10, 1913 – April 9, 1991) was a Canadian politician. He served in the Legislative Assembly of New Brunswick from 1952 to 1974 as member of the Liberal party.[1]

[1]

title: Cléophas Léger

question: When was Joseph born?

answer: Joseph was born on September 10, 1913.

question: What political party did Joseph belong to?

answer: Joseph belonged to Canada's Liberal party.

question: When did Joseph die?

answer: Joseph died on April 9, 1991.

question: When did Joseph serve on the Legislative Assembly of New Brunswick?

answer: Joseph served on the Legislative Assembly of New Brunswick from 1952 to 1974.

question: Write a ~1 sentence summary.

answer: Joseph Leger was a Canadian politician who served on the Legislative Assembly of New Brunswick from 1952 to 1974.


text:
[]
CoinJar is an Australian exchange, but our CoinJar wallet app for iPhone has gained global recognition. It’s fast, smooth, comes with a secure web interface and does the most important thing of all: it allows you to send and receive Bitcoin!

Apple has a policy that doesn’t allow for most Bitcoin Apps that send and receive, due to the grey area around money transmission. For some strange and glorious reason our App was the only one that remained for quite some time.

This period of grace has (unsurprisingly) come to an end.

Now before you start DDOSing and trolling, Apple have done nothing wrong in this situation, they are just managing their own legal liability. We have had amicable discussions with them and hope they will support us in the future, when they have a more clear view of Bitcoin’s place in their regulatory landscape.

[]
They have given us the option of either removing the function, or removing the app. We have decided to remove the app. What this means is that existing customers can use the app as they have previously without any issue.

What this also means is that while we will be removing the app by the end of this week, you can still download it before then.  Anyone that has the App before it is removed will be able to keep using our App as a wallet.

It’s that simple. If you want a true native Bitcoin IOS Wallet app for your iPhone, download the CoinJar app now.

question: How well would CoinJar fare if their wallet app didnt gain global recognition?

answer: The CoinJar wallet app attributed to the fame of the company, so without its global success, the company would not have been so well-known.


text:
The hikers had left a map of the area which gave us a vast layout of the land. It wasn't good. There were woods, woods, and  more woods. No place was safe, the dead had already begun to infest the forest as we knew, and hunting became harder and harder. The animals were nearly all gone and we were dangerously low on food, but no one wanted to get that conversation started. Our only option was to look for shelter in one of the surrounding towns. That's when I first heard Ryan's voice. I don't think he'd used it in about a month. He had to give it a couple of tries before the words came out smooth.
“My high-school's in the next town over, it's right at the edge of forest. There's a broken lock on a second story window, the chemistry lab. The cafeteria's full of cans and stuff.”
“There's probably people there already.” I said.
“Gotta try.” Spencer replied, “Ain't nuttin' else to do.”
	And again, he was right. The forest wasn't an option anymore and our food supply would only last another day or two. Soon, we would barely have the energy to stay awake much less trek through the woods hunting for squirrels. I'll skip the journey. It wasn't easy and it wasn't pretty.
	We got there two days after we started walking and had the last bit of rations about ten minutes before we saw the school. The possibility of food almost hurt- and I realized that the point I had made earlier was moot, even if there were people here, we were going to take whatever was inside, anything else would mean our deaths. Spencer and Ryan reached the clearing first. Emily and I fell behind when she had to stop to use the bathroom. I stood guard while the others walked on, I would have told Spencer he should stay with his girlfriend but I would rather have him as far from her as possible. When she came out she thanked me for staying with her, “...You took off your bow tie?” She asked. I had almost forgotten I was wearing a tuxedo. The white shirt had turned yellow and I’d long since ripped off the cummerbund. I took the tie out of my pocket, “I was going to throw it away but thought it might be useful some day. Don't know why I thought that.”
“You should keep it.”
“Why?”
“No reason, I just like it.” She said with a weak smile and walked ahead of me. I had never seen her smile before. It was nicest thing to happen in weeks.
	The school sat quiet. We stayed by the treeline for a few minutes before Spencer passed out the weapons. “Ryan'll go in through the broken window and open the back door for us, Emily, you can be the look out in case any wal-” Spencer stopped himself when he saw her. A girl of no more than sixteen, behind her another girl a couple of years younger. They were both in dirty white dresses, their eyes had sunk and they walked on slow frail legs. It took a minute of watching to see that they were not walkers but starving. The eldest girl bent down and picked up two pale yellow flowers from the ground. She put one behind her ear and the other in her sister's hair. They started to walk back, hand in hand but the youngest stopped- they stood for a moment and looked up a the sky. I looked at Spencer, at Emily, no one seemed quite sure of themselves anymore. The girls disappeared into the school.
	I gave Ryan a boost- he climbed the rest of the way up himself, he was gone a minute before the door clicked open. “See anything?” I asked him. He shook his head. We went in slow and quiet. We had learned the silent walk technique in the woods. Dry twigs were death traps. We were almost to the cafeteria when we heard the shots.
	All weapons went up- the gunfire came from the gymnasium Ryan told us. Five shots, four in quick succession and a space of about ten seconds until the last one. We had to move fast now, walkers would have heard the shots, we kept the doors unlocked behind us in case we had to run. And if there were walkers in the building- either way we had to know what happened. Ryan had to show Spencer the way and Emily was outside on watch. So I went to the gym alone, I was given five minutes before they would be out of there with or without me. I see it now like I saw it then.
	Walking into that gym, that was when I knew. The hope I had for a military rescue, that spark in the middle of your heart that tells you things will be okay eventually- that things are bad now but a day would come when everything would be like it was before, that was the moment my light went out. Five sisters had come to this school for safety. They'd made it as long as they could, they'd eaten all the food but the world outside hadn't changed. They had no one to take care of them. No parents, no policemen. All they had was a gun with five shots left inside. The younger ones had lines up, that ten seconds before the last shot- that was the oldest looking at her family and turning the gun on herself. I've thought about that day every day since. I've thought about running from the clearing and telling that sixteen year old that things would be okay- that she could come with us. And I've had dreams when she did, and Spencer was excepting and Emily was like a mother to the littlest of them. In my dreams we were all alive, we all belonged to the each other and when one of us was sick or hungry the others would take care of them. And those girls would play the games that children play.
	As I stood there and watched their blood spread out and pool together- I prayed for something to happen, anything that could change what I was feeling. I didn't care if it was a bomb going off or a military parade outside, I just needed to feel something other than that hopelessness. And then something did happen. The youngest of the girls stood up. Her sister had aimed for the heart. We thought only a bite could turn someone, but now I saw that that wasn't true. This wasn't an infection, this wasn't a disease. This was Hell, and it was coming for me in a white cotton dress and flowers in its hair.

title:
The Walking Dead: Winter Chronicles
Chapter Four: Five Sisters

question: Who is infesting the forest where the hikers are?

answer: The walking dead

question: Where do the hikers plan to go in search of food?

answer: The narrator's suggests going to the high school in the next town in search of food in the cafeteria.

question: What did the hikers find at the school?

answer: They found five sisters looking for safety.

question: What did the five sister do?

answer: They had no one for help, had eaten all the food and had a gun with five shots left. One for each.

question: Write a ~5 sentence summary.

answer: The hikers are in the woods and beginning to run out of food as the walking dead are infesting the forest. They plan to go to the high school in the next town in search of food as their supply is now only for two days. The group of hikers scope out the scene at the school to only find five sisters looking for safety. The five sisters had eaten all the food and had nothing left except a gun with five shots left. One shot for each of them.


text:
By

Updated Jun 05, 2018 @ 1:15 pm

There's no doubt about it—the late fashion designer Kate Spade has left her mark on the fashion world.

The designer—who was found dead this week at the age of 55 of an apparent suicide—has a legacy that spans decades and will continue to live on through her bright, quirky brands. Hers was a story of financial success, and her net worth reflects that.

According to the website The Richest, Spade had a net worth of $150 million. Celebrity Net Worth contradicts this number, pinning her net worth at $200 million, but regardless, the numbers make it clear that Spade was a savvy businesswoman who knew her stuff. She co-founded Kate Spade & Co. in 1993 alongside her husband Andy, but interestingly enough, they never originally set out to be fashion designers at all.

"Why don't you do handbags? You love handbags,” Andy said to Kate in the ‘90s, according to _Women’s Wear Daily._ “We never thought about starting a company. We just said, ‘Let’s make some bags and see what happens.’”

VIDEO: FASHION DESIGNER KATE SPADE FOUND DEAD OF APPARENT SUICIDE

While Spade sold the last shares of the company in 2007, she launched a brand-new brand called Frances Valentine in 2016. She spoke about her inspiration for the line last year.

"Most people know me as Kate Spade, and we started the Kate Spade collection in 1993 and in 2007, we decided to take a break and spend time with my daughter. And just recently, my husband and I and my other partner Elise decided it was time to get back into the business," she said.

"I think there's a big difference between what I'm doing and what I did at Kate Spade. Our customer is someone who has a very personal sense of style and is really buying what they like. I think that's who I've always spoken to, and that's who's attracted to my designs."

question: Who was Kate Spade?

answer: A fashion designer.

question: What did she make?

answer: Primarily women's wear, with her handbag's being the most famous of her collection.

question: How long did her career/lines span?

answer: 1993-2007

question: What happened to Kate Spade?

answer: She died off apparent suicide.

question: Write a ~6 sentence summary.

answer: Acclaimed fashion designer Kate Spade has died of apparent suicide. She was found dead in her home a the age of fifty-six. In the 90s, her handbag line became extremely successful. Her eponymous lines launched in 1993 and in 2007. Spade was known as a talented businesswoman whose net worth is thought to have topped $200 million at the time of her death. No reason is given regarding her suicide.


text:
I don't want to undermine my own point here, but it occurred to me there's a better analogy than the one I used above, re. irrelevance of facts for a given set of circumstances:

Woman has a life-threatening, pregnancy-related condition X. Woman chooses not to abort. Woman and child die. Universal Hub readers, understandably upset, post that she should have aborted, and that they will exhort sisters, girlfriends, daughters, etc. to abort if they learn they have condition X while pregnant. Anti-abortion poster cites statistics about the danger of abortions, myth-busting, and "reminding" readers that women can die from abortions.

The point is that in my construct, just as in the South Boston murder, the facts/stats might be right, _but it wouldn't have mattered anyway in this instance_. The woman would be no less dead.

Could stats have been cited as a teaching moment, as in, "Hey, let's not get carried away here, and encourage people to [abort][concealed carry]?" Maybe, but my money is on general preachiness, in which case it was a fail.

question: Want point does the author not want to undermine?

answer: That information can't be found in the document.

question: What is the main topic of this document?

answer: Abortion

question: What happened in the South Boston murder?

answer: That information can't be found in the document.

question: What is the author referring to as "general preachiness"?

answer: It seems the author is referring to stats being cited that could be used as a teaching moment.

question: Write a ~1 sentence summary.

answer: The author wrote this document so they could give a better analogy for abortion than they had previously.


text:
Photographed by Ben Ritter.

Have you ever had to explain feminism to someone who just doesn’t get it? One of those friends or relatives who, for all their good intentions, says things like, “I’m not a feminist. I’m a humanist! I believe in equality for _everyone_.” From an etymological standpoint, this almost makes sense, but it misses the entire point: By definition, feminism stands for equality for everyone. It aims for that goal by focusing on the rights of women, because our societal framework — our laws, our systems, our cultural standards — simply doesn’t function for women the same way it does for men. In terms of gender, the framework holds male as the norm, and everything else as the other. It’s not that men cannot suffer or even that they’re given special treatment. They’re simply given the treatment we all should receive. That’s why it’s so deeply frustrating and revealing when someone digs in their heels against feminism, or refuses to acknowledge that male privilege even exists. They are willfully ignoring a prejudice. Why? Among women, thankfully, I don’t often find myself faced with this question. But there is one issue that seems to arise with an alarming frequency, often met with anger and confusion. And if we claim to care about equality, then we must acknowledge this inequality, too: THIN PRIVILEGE. What’s your gut reaction to that term? Defensiveness, anger, hope, curiosity? Before stepping further into this subject, I think it’s important to recognize where we’re all coming from. When I hear the term “thin privilege,” my first response is anxiety. I feel anger and interest and hope as well, but first and foremost, I feel nervous when the subject comes up, because I am not a thin person. Illogical as it may sound, naming another group’s privilege feels almost like picking on them. The thing to remember is that privilege isn’t about us as individuals. It’s about the system we all live inside. It’s no one’s fault, yet it is everyone’s responsibility. “Acknowledging that you have privilege is not saying that your life hasn’t been difficult,” says Melissa Fabello, renowned body-acceptance activist, academic, and managing editor of Everyday Feminism. “It's simply acknowledging which obstacles you have not faced.” As a thin person working in the realm of body activism, Fabello frequently affirms the obstacles she herself hasn’t faced. For example, “when I walk onto a plane, I don’t have any thoughts about whether or not I'm going to be able to sit in the seat,” she says. Going to the doctor, she doesn’t deal with automatic assumptions about her health. “It's always, ‘Okay, let's treat whatever issue you came in here for.’” Fabello offers these examples with no caveat or defense. That’s a rare attitude when it comes to any topic about our bodies — particularly women’s bodies. Because, for one thing, thin privilege doesn’t protect her from other harmful experiences and damaging beliefs. We live in a world that scrutinizes and judges women’s bodies, period. Furthermore, “our current cultural beauty ideal for women is this weird skinny-but-curvy thing,” she says. The beauty standard has evolved in the past few decades (“in the latter half of the 20th century [it] was very stick-thin,” Fabello notes), but it hasn’t become any more flexible or generous. It used to require visible hip bones, and now it demands curves — but only in the “right places.” By its very nature, a beauty standard is exclusionary, and women of all sizes are vulnerable to it. “That’s an issue of women's bodies being seen as public property. That’s an issue of women's bodies being seen through the lens of the male gaze,” says Fabello. “It is not about size discrimination, which is a separate issue.” In fact, this new twist in the beauty standard may be feeding the ever-growing elephant in this room: skinny shaming. While it is an entirely different topic, we cannot have a conversation about thin privilege or size bias without contending with skinny shaming. And that’s a problem. While things like privilege and bias are systemic, shaming happens on an interpersonal level. It may be within your family, your peer group, or even your broader community. It’s simply a different form of harm. “Oppression isn't one, two, five, or one hundred people saying something bad about your body or making you feel bad about your body. That’s not oppression,” says Fabello, “Oppression is something that is woven into society so that it is inescapable.” That doesn’t make body shaming of any kind invalid or harmless — and no one is arguing that. Yet, many thin people still present skinny shaming as a counterpoint in an argument that isn’t happening. “I would say nine out of 10 times, thin people only complain about or bring up the concept of skinny shaming as a way to derail a conversation about fat shaming,” says Fabello. They’ll offer evidence as if to say that their experience is exactly the same as a fat person’s. “You know, ‘Well, I'm so thin that when I go to the doctor they tell me I just have to gain weight.’ Or, ‘I can't shop in the average clothing store either. I have to buy kid's clothes, because they don’t make clothes in my size.’ They come up with these counter-examples, which then makes it a difficult conversation.”

Photographed by Ingalls Photo.

Of course, anecdotes like this just don’t add up against the basic, big-picture facts: The world does not hold thinness and fatness as equal. “We are all socialized not to want a fat body,” says Fabello. But stating the obvious is a fruitless tactic when faced with someone like this. If you can’t acknowledge these basic truths, “you’re not actually trying to learn or understand. You’re just on the defensive.” We are all prone to that defensiveness. It’s a knee-jerk response when someone checks our privilege for us (see: #AllLivesMatter). This is why the system hurts us all so deeply: It perverts our empathy into something fearful and selfish and utterly nonsensical. When thin people argue like this, Fabello points out, they’re saying, “‘Well, what about me? I'm also shamed for my body, so therefore thin privilege can’t exist and fat oppression can’t exist because I have this experience.’” That is why body positivity isn’t just about accepting your own body. It’s about actively acknowledging others’ — particularly those who don’t benefit from your own privilege. Absolutely, it begins with self-acceptance. “We all need body acceptance,” Fabello reaffirms. “Everybody wants to have their own pain acknowledged and everybody _should_ have their own pain acknowledged in whatever appropriate way there is.” For her, that means being mindful of the room she’s in. “If people are hurt, then I think people need to have that conversation to heal. But I think that it should be had within one privileged group and also with context.” Imagine an able-bodied person walking into a room full of quadriplegics, complaining about her broken arm. Even better, imagine a straight, cis, white woman walking into a room full of queer, trans quadriplegics of color — and complaining about her broken arm. When in doubt, remember to look for and note all the privileges we cannot see — or which we’ve been conditioned not to see. It’s not an overt maliciousness, this blind spot in our vision. Shaming is overt. Privilege, like prejudice, is something so old and so ordinary; it’s the mottled lens through which we see everything. It’s our idea of average. “And whenever we have an idea of an ‘average person,’ it's always someone who is the most privileged.” The world is built around this idea of a person, and everyone else is an exception to be accommodated. Some accommodations are more easily made than others; the left-handed kid needs a lefty desk, so the teacher runs around looking for one, apologizing to the student because, of course, that’s only fair. When it comes to something like size, it’s different. “You go to a restaurant and the table is nailed down to the ground,” says Fabello. “There's this assumption that the blank-slate person who things are created for is a certain size.” It’s a bias you might not notice unless you’re pressed right up against it. When you’re sitting comfortably, it takes effort to notice — and even more effort to question. But really, it’s not _that_ hard. The problem is that we take the word “privilege” so personally, when it’s not so much about _you_ as it is _us_. Actively acknowledging your own privilege isn’t saying, “I’m the bad guy.” It’s saying the system is bad. It does not invalidate your own pain, but validates the pain of others — which is just as real, though not as recognized. In voicing that injustice, you are not giving up your seat at the table, but demanding a table at which all of us can sit with comfort and be heard.
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THE ANTI-DIET PROJECT IS AN ONGOING SERIES ABOUT INTUITIVE EATING, SUSTAINABLE FITNESS, AND BODY POSITIVITY. YOU CAN FOLLOW KELSEY'S JOURNEY ON TWITTER AND INSTAGRAM AT @MSKELSEYMILLER, OR RIGHT HERE ON FACEBOOK. CURIOUS ABOUT HOW IT ALL GOT STARTED? CHECK OUT THE WHOLE COLUMN, RIGHT HERE.

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It's your body. It's your summer. Enjoy them both. Check out more #TakeBackTheBeach here._

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Thin Privilege, Skinny-Shaming Anti-Body Positivity IRL

Photographed by Ben Ritter.

question: In the world of body shaming, do thin people get the same treatment as fat people? Explain the answer.

answer: No, thinness and fatness are not equal because people are socialized not to want a fat body.


text:
JOSEPH WANTON JR. (1730–1780) was a Loyalist, merchant, Deputy Governor of Rhode Island in 1764 and 1767 and owner of Hunter House in Newport, Rhode Island.

Wanton was born to Governor Joseph Wanton and Mary Winthrop Wanton of Newport on February 8, 1730. Wanton graduated from Harvard University in 1751 and was involved with privateers during the French and Indian War possibly where he attained the title of colonel. Wanton's first wife Abigail Honeyman, by whom he had 7 children, died in 1771. Wanton served as a vestryman at Trinity Church (Newport). Wanton was elected Deputy Governor of Rhode Island in 1764 and 1767.

Wanton was a loyalist during the American Revolution and was accused of treason and imprisoned by Rhode Island General William West while the British occupied Narragansett Bay in 1776. When the British occupied Newport, he raised troops for the Loyalist cause. In 1780 Wanton's property (Hunter House) was confiscated, and he fled Newport when the Americans reoccupied the city. Wanton likely died in New York in 1780 after fleeing there with the British.[1] In 1781 his widow Sarah Brenton Wanton (his second wife whom he married in 1775) unsuccessfully petitioned the State of Rhode Island to return of the confiscated Wanton properties in Newport, Jamestown, Prudence Island, and Gould Island.

[Wanton's House in Newport] Some genealogists speculate that Wanton became an Episcopal minister near Liverpool, England, although this seems inconsistent with other information about his life, including the 1780 burial record of one Col. Wanton in the churchyard at Trinity Wall Street Church, Manhattan. It is more likely that it was Joseph and Sarah's son; Joseph Brenton Wanton who went to Trinity College, Cambridge in October 1795, aged 18; and later became a minister in Liverpool, England.[2][3]

Joseph Brenton Wanton (JBW) was Joseph Wanton and Sarah Brenton's only child. Sarah Brenton Wanton remarried in 1784, to William Atherton 'Esquire of Jamaica' in Trinity Church, Newport, RI. William Atherton owned Green Park Plantation in Trelawney, Jamaica and Spring Vale Pen Plantation in St James, Jamaica.[4] Sarah died in July 1787 and was buried in Clifton Burying Ground, Newport. It is recorded in Trinity Church Archives that 'He [William Atherton] immediately after her [Sarah's] death disposed of his household goods and went to England, where he had a tablet prepared, and had it set up in the church [Trinity Church, Rhode Island] in Nov. 1788.' [5] In England, he bought Prescot Hall outside Liverpool. He apparently took his step-son, Joseph Brenton Wanton with him, who was registered in Manchester Grammar School.[6] and appears in Cambridge University Alumni as 'Joseph Brenton WAUTON, son of Joseph, Governor of Rhode Island', having been to Manchester & Macclesfield Schools, 'where it states that the name was originally WANTON'. All Joseph Brenton Wanton's children were called WAUTON although in his Will of 1841, he signs as 'Joseph Brenton WANTON'.[7] This seems to be when the name for this branch of the family was changed. In 1803 he married Mary Weston, daughter of a tanner from Halewood, Liverpool, and had 4 children, the two sons went to Cambridge and became ministers in the Church of England. JBW was a minister in the Church of England but retired through ill-health in 1819, living in Liverpool, the Isle of Man and Cheshire. He died in 1853.[8]

[1] Col. Wanton Burial Record, Trinity Church Wall Street, Manhattan

[2]

[3] History of the Episcopal Church in Narragansett by Wilkins Updike, James MacSparran, Daniel Goodwin (RI: Merrymount Press, 1907), 278. (Joseph Wanton Records, distinguished from Joseph Wanton, Sr.)]

[4]

[5]

[6]

[7]

[8]

title: Joseph Wanton Jr.

question: What does the article say about Joseph Wanton Jr.'s children?

answer: Joseph Wanton Jr. had 7 children with his first wife, Abigail Honeyman. And he had a son, Joseph Brenton Wanton, with his second wife, Sarah Brenton. Joseph Brenton Wanton went to Manchester Grammar School and Cambridge University, married Mary Weston, had 4 children, and became a minister in Liverpool.

question: What does the article say about Wanton's properties that were confiscated?

answer: Being a loyalist during the American Revolution, Wanton was imprisoned by Gen. West for treason in 1776. In 1780, the government confiscated properties that belonged to him, including the Hunter House, and these were never given back to his family even after his death.

question: What does the article say about Joseph Wanton Jr. being a merchant?

question: What does the article say about Sarah Brenton?

answer: Joseph Wanton Jr. married Sarah Brenton in 1775 after the death of his first wife, Abigail, in 1771. She became a widow upon the death of his husband in 1780 and was remarried to William Atherton in 1784. After Sarah died in 1787, William and his stepson, Joseph Brenton, went to England.


text:
_MICRURUS FRONTALIS_ (SOUTHERN CORAL SNAKE) is a species of a highly venomous coral snake in the family Elapidae.[1] It is found in South America.

Description

This species grows on average to 75 cm in length, with a maximum of 164 cm already reported.[2] The color of the head varies, with a gray pigment on the top of the snout. The body pattern consists of very wide red bands that are separated by a series of 10-15 narrower black triads with 3 blacks separated by narrow white bands. The dorsal scales are red, with black tips of dark appearance. The tail has two complete triads.

It is a nocturnal, terrestrial and fossorial snake, which digs loose soil or litter, has been one of the main accident-causing corals in Southeast South America, although it is not relatively aggressive towards humans, it has Oviparous reproduction, although eggs / clutch has not been reported.[3]

Distribution and Habitat

It is located in Brazil and Argentina.[4] It mainly lives in humid forests, tropical and subtropical deciduous forests, savannas, sandy and rocky areas, in secondary vegetation such as pastures and agricultural land, close to marshes and streams, it inhabits lowlands, from sea level to an elevation of 700 m .[5]

Diet

It feeds on lizards and other snakes (including blind snakes).[6] Cannibalism has been reported in this species.[7]

Venom

Like all elapids in Brazil, Micrurus frontalis has post-synaptic neurotoxins (except for Micrurus corallinus) that bind to terminal motor acetylcholine receptors, the toxin is composed of low molecular weight polypeptides, which are rapidly absorbed by the body after inoculation and symptoms can appear in minutes, the toxin acts peripherally, blocking neuromuscular transmission. Muscle paralysis is a consequence of the action of the toxin with the neurotransmitter by the nicotinic receptor on the end plate.

At the site of the bite, edema and paresthesias occur, the initial systemic symptoms of most coral accidents, include eyelid ptosis and diplopia, which are followed by facial muscle paralysis, visual impairment, anisocoria, dysarthria, dysphagia, salivation and generalized loss of muscle strength, in severe cases, life-threatening respiratory arrest occurs, with patients requiring artificial ventilation.[8] The median lethal dose is 22 μg for mice weighing 4-29 grams[9], and 0.69 mg/kg.[10] The average yield is 20-30 mg (dry weight), according to Minton. Roze (1996), describes an average yield of 10-12 mg (dry weight).[11]

[1]

[2]

[3] https://www.acq.osd.mil/eie/afpmb/docs/lhd/venomous_animals_byspecies.pdf

[4]

[5]

[6]

[7]

[8] https://bibliotecadigital.butantan.gov.br/arquivos/44/PDF/4.pdf

[9] https://www.researchgate.net/figure/Lethal-dose-50-LD50-of-Micrurus-spp-snake-venoms-determined-in-murine-model_fig5_41969510

[10]

[11]

title: Micrurus frontalis

question: What is the English name of micrurus frontalis?

answer: Southern Coral Snake.

question: Where is micrurus frontalis found?

answer: South America.

question: How long does micrurus frontalis grow to?

answer: 75 cm on average, with 164 cm the longest ever recorded.

question: What countries is micrurus frontalis located in?

answer: Brazil and Argentina?

question: Write a ~1 sentence summary.

answer: This article is about micrurus frontalis a coral snake endemic to South America.


text:
I’ve spent the last week on-and-off building a robot so I could remotely watch my house when on vacation. What I’ve built is hugely overkill, but it works great and it’ll be easy to repurpose in the future. It has a massive LED on the front, way too much torque, a Linksys WRT54G for transmitting and receiving data, and an Arduino Mega 2560 as a brain.

[IMG_0101] [IMG_0102] [IMG_0103] [IMG_0104] [IMG_0105]

Let’s start with the motors. I am using two drill motors. I bought the drills at Value Village, a local thrift store, for roughly $5 a piece. They weren’t the same voltage, so I have to use software so the robot doesn’t drift. They are extremely powerful; The robot was able to pull around a cart with a very heavy marine battery on it. I could probably pull more, but the limitation was that there wasn’t enough weight above the wheels, so the wheels would spin. I have the motors software limited to roughly 40% of their maximum power, because at 100% they’re incredibly fast.

For the motor drivers, I’m using a pair of BTS7960’s. With a maximum current of 43A, they are massively overkill for the drill motors. Both motors together, when stalled, draw around 10 amps. I imagine if the put the throttle at 100% I might get closer to that 43 amp limit. When driving the robot, the heat sinks don’t even get hot. Because of my frugality, I previously tried to use relays, in an H-Bridge, to drive around. It would have worked, if it wasn’t for the motors being way too fast at 100% power.

On previous robots, I’ve always had a problem with traction. This was due to using wheels from things that were designed to be pushed, for example, the wheels off a stroller. I’ve solved that problem – About a year ago, I saw a very hefty R/C car at the side of the road. I’ve kept the wheels, the motor, and the servo, but threw out the chassis. The wheels are also very hefty, and have no problem getting a grip. One slight problem I have is there isn’t enough weight above them, so they have a tendency to spin.

To mount the wheels to the motor shaft, I had to use a 3D printed part. At first, I just had the shaft screw into the part, but they kept shattering, so I found locknuts to go on the end of the motors, and I designed a part that could fit the lockut. The other end of the part has a few mounting holes – extras, even – and the wheels mount with two screws(which is a lot more secure than it sounds)

The robot also has a flashlight. I used a 30W LED and driver, which is _way _overkill, but it’s just what I had lying around. (I used it on my bike at night once, with a lead acid battery strapped to the side, and I lit up the entire width of the street and then some!) The driver is just an adjustable step-up converter, rated at 150W. It’s controlled by a 2 channel relay, giving me an extra channel for later.

Oh, and this robot actually has a proper fuse box, which is better than what I used to do, which was to just not mess up. Each motor has its own fuse, the LED has its own fuse, and the final fuse is for all electronics. I probably should have added another fuse between the battery and the power distribution screws, which provide power to the fuses.

For power, I have chosen to use a modest 12V 7AH lead acid battery. I put it right above one of the motors, which helps greatly with traction. I might upgrade to 2x 18AH 12V batteries, one above each motor, but for now, I still get about 2 hours of battery life. I also have a trailer with a marine battery, which should give me a lot more battery life once I add some weight above the wheels.

Power management is interesting. There are two very thick wires between the battery and two screw terminals – One negative, and one positive. There are 4 wires coming off the positive screw. Each goes to a different fuse. There are 6 wires coming off the negative screw, since some fuses have more than one device attached to them. There’s also a USB battery on top of the robot. This is to power the IP camera. While there’s no reason not to get a 12V to 5V converter and connect it to the same source, there’s also no reason to change. The battery is basically weightless, since it’s lithium based, and it runs longer than the lead acid. I had a 12V to 9V switching regulator laying around, so I used it to power the Arduino, to raise its efficiency slightly higher than it would be if I just fed it 12V.

What I’m sure you’ve noticed is that there are two layers. I actually physically ran out of space on the first layer, so I had to add a second layer. They are separated by 4 3D printed parts. I could have used wood, and it would have been stronger, but I have to cut all wood with a handsaw and it was a lot easier just to design and print instead.

I wrote all software myself, from scratch. Actually, that’s a lie, I borrowed some code from previous robots, but I improved upon it a _lot_ for this version. First of all, the software was originally designed to run on a much smaller robot, which meant there were no safeguards. For example, if the robot was going forward and the connection dropped, it would keep going forever. I was able to fix that in this revision, so if no command is received for 250ms it cuts the motors and the light. It’s also able to gracefully recover from an unclean disconnect, instead of requiring a reset, which wouldn’t have been good if I was 1000 miles away. If no command is received for 2500ms, it terminates the client, allowing for it to start looking for another. Oh – and if one person is driving the robot, it doesn’t allow any other connections.

The software is up on git: here

In conclusion, this robot will easily serve its purpose, and then some. I spent around $100 CAD on it in total, which is a very modest price for such a powerful machine. If I had a chance to redo it, I would have given it some slightly bigger batteries, and I would have positioned them above the motors to give me more torque. After attaching a blade to its bottom, it should make a very good autonomous lawnmower.

Here’s a video of it in operation:

question: What does the author build?

answer: A robot

question: What is the robot built for?

answer: To remotely watch the author's house while on vacation.

question: What does the author use to transmit and receive data?

answer: A Lunksys WRT54G

question: How much does the author spend in total on the robot?

answer: Around $100 CAD

question: Write a ~2 sentence summary.

answer: The author builds a robot in order to remotely their house while on vacation. Author goes on to explain all the parts used in building the robot.


text:
Kentucky Sen. Rand Paul says all Americans should be worried about civil liberties in the wake of the FBI’s raid on President Trump’s attorney Michael Cohen.

The nebulous limits to special counsel Robert Mueller’s Russian investigation, coupled with his willingness to test them, had the Republican lawmaker ringing alarm bells Tuesday. Mr. Paul told a Fox News’ Bill Hemmer that the FBI’s legal tendrils have wandered far from their original target — the truth about possible collusion between Russian state actors and Mr. Trump’s presidential campaign.

“The first question we ought to ask is what does this have to do with Russia,” Mr. Paul said during an “American Newsroom” appearance. “I thought the special prosecutor was investigating Russian collusion. Going after someone’s personal attorney is a great overstep, I think, in the authority of the prosecutor.

“This is why I have opposed really having special prosecutors for almost anything,” the lawmaker continued, the Daily Caller reported. “I think they abuse their authority. I think Mueller has abused his authority. They say, ‘well he asked somebody else, another U.S. attorney to do it.’ Yes, but this is coming at the behest of Mueller. I think this investigation no longer has much to do with Russia. I would warn people around America who … don’t like the president [that say], ‘Oh, this is just fine because it’s against President Trump.’ This is an enormous power used against anybody.”

Mr. Paul also seemed to critique New York Sen. Chuck Schumer for tweeting: “If @realDonaldTrump is thinking of using the FBI raid to fire Special Counsel Mueller or otherwise interfere with the chain of command in the Russia probe, we Democrats have one simple message for him: don’t.”

The Kentucky senator noted that Mr. Schumer’s January appearance on MSNBC implied corruption within the highest echelons of U.S. intelligence agencies.

“Let me tell you: You take on the intelligence community — they have six ways from Sunday at getting back at you,” the Senate Minority Leader told MSNBC’s Rachel Maddow. “So, even for a practical supposedly hard-nosed businessman, he’s being really dumb to do this.”

Stephen M. Ryan, Mr. Cohen’s lawyer, told reporters Tuesday that the FBI raid was partly a referral by the Office of Special Counsel.

Sources told The New York Times that prosecutors are investigating possible campaign law violations linked to a nondisclosure payment to adult film actress Stormy Daniels, in addition to possible bank and tax fraud.

Mr. Ryan issued a statement calling the Manhattan raid “completely inappropriate and unnecessary,” given his client’s willing participation with the agency’s Russia investigation.

“It resulted in the unnecessary seizure of protected attorney client communications between a lawyer and his clients,” the lawyer said.

Mr. Trump called the FBI’s raid on his lawyer a “total witch hunt.”

  A TOTAL WITCH HUNT!!!

  — Donald J. Trump (@realDonaldTrump) April 10, 2018

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Please read our comment policy before commenting.

question: Who was raided by the FBI?

answer: Trump's attorney Michael Cohen was raided by the FBI.

question: Why does Rand Paul object to the raid?

answer: Rand Paul objects, claiming that the prosecutor has overstepped their limits.

question: What does the New York Times say the prosecutors are investigating?

answer: The New York Times says that the prosecutors are investigating campaign law violations as well as bank and tax fraud.

question: Does Trump approve of his lawyer being raided?

answer: No, Trump did not approve of his lawyer being raided.

question: Write a ~2 sentence summary.

answer: Trump's lawyer is raided by the FBI while investigating claims of campaign law violations and Russian collusion. Many people were upset by this, claiming it was an overreach of power.