Minecraft: UnderCove Server S2 - Episode 2 "Paths and Fences"
We build paths and fences connecting the stable to the rest of the village. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The UnderCove was founded by Grotno...
By: Cyerdous
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Minecraft: UnderCove Server S2 - Episode 2 "Paths and Fences" - Video
STORY HIGHLIGHTS
(CNN) -- Anyone who climbs a high-security fence at an airport and scurries onto a runway would have to be drunk, on drugs or desperate, one might think.
Two men -- at two separate airports in Newark, New Jersey, and Phoenix, Arizona -- did just that on Christmas day.
One showed "indications of possible drug and alcohol impairment." The other was wearing woman's clothing and was not interested in anything at the airport -- instead he was seeking safety from someone who frightened him, police said.
Both men were charged with trespassing and released.
The breach at Newark exposed a failure of a $100 million system designed to protect New York City area airports. The Phoenix fence hop was the fifth in a decade at that airport, CNN affiliate KPHO reported.
Fleeing in woman's clothing
When Siyah Bryant, 24, allegedly mounted the barrier at Newark Liberty International Airport, it went unnoticed for a day. On Thursday, a review of security camera footage revealed his ascent, according to Port Authority police.
The cross-dressed suspect then ran across two runways to get to Terminal C, two police sources said. Nobody saw it, but he was literally on the screen at the time.
The security apparatus in the Perimeter Intrusion Detection System (PIDS) made by Raytheon Co. combines radar with video cameras, motion detectors and "smart" fencing, according to the maker's website.
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'Inebriated' man, cross-dressed man jump airport fences in Newark, Phoenix
Verdict
Tarabela has won twice here but hasn't raced over fences for almost three years and is making her reappearance under a big weight. Endofdiscussion is still creeping up the weights but is another with a decent record at the track over fences, though is still a maiden. Salut Honore won over a longer trip here last month while Mollusk is starting to look well treated but has yet to show much this year. Jim Old's runners here are always worth a second look and TODAREISTODO is no exception. He's 5lb higher than when winning this last year but looked to be back on track at Chepstow last month and is preferred to Fontwell second Malibu Sun, who is also entered at Fontwell, and penalised course and distance winner Bill The Lad.
Todareistodo 10-1 (10-3) Held up towards rear, headway approaching 5 out, chasing leaders and every chance when blundered 4 out, switched right and rallying when not fluent 2 out, stayed on under pressure to 3rd flat, 3rd of 10, 3l behind Umberto D'olivate (11-2) at Chepstow 2m 3f hcp chs 0-120 (4) hvy in Nov.
Malibu Sun 6-1 (11-12) Tracked leaders, led 5th, mistake 5 out, headed last, no extra, 2nd of 7, 3 1/2l behind Midnight Charmer (11-0) at Fontwell 2m 4f hcp chs 0-95 (5) gs.
Le Grand Chene (FR) 12-1 (11-8) Mid-divison, closed from 6th, not fluent 3 out, 4th and no impression when hit 2 out, 4th of 8, 20l behind Capisci (10-9) at Taunton 2m hcp chs 0-95 (5) gd.
Guanciale 5-2 (11-4) Tracked leaders, jumped right 5th, hampered after 3 out, not fluent 2 out, no extra last, last of 6, 12l behind Young Hurricane (11-12) at Lingfield 3m nov hcp chs 0-110 (4) hvy in Nov.
Bill The Lad (IRE) 11-1 (10-7) Held up behind on inside, headway 10th, went 2nd after 3 out, upsides next, led between last 2, 5 lengths advantage when left clear last, won at Towcester 2m 3f hcp 0-100 (5) sft beating Carli King (11-10) by 10l, 9 ran.
Tarabela 11-2 (11-9) Held up towards rear, headway after 7th, went 2nd before 2 out, led last, driven out, won at Towcester 3m hcp hdl 0-100 (5) gs in Feb beating Bravo Riquet (11-0) by 1/2l, 15 ran.
Salut Honore (FR) 11-2 (10-6) Mid-division, blundered 13th, chased leaders 4 out, no impression from next, 5th of 10, 26l behind Musical Wedge (11-2) at Towcester 3m hcp chs 0-120 (4) gs in Nov.
Mallusk (IRE) 14-1 (10-9) Held up towards rear, hampered 12th, not recover and soon pulled up, in a race won by Musical Wedge (11-2) at Towcester 3m hcp chs 0-120 (4) gs in Nov, 10 ran.
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totepool Mobile Handicap Chase 2m 3f 110y
Unique/White Fences Polar Express Show December 15, 2013
Unique, 13 year old Dutch Harness Horse owned by Paula Runnells riding in First Level, Test 3. Judge: William Warren; score: 76.438%.
By: Anne Cizadlo
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Unique/White Fences Polar Express Show December 15, 2013 - Video
Fences Trailer - McCarter Theatre
August Wilson #39;s Fences Fences is one of the most beloved plays in August Wilson #39;s soaring ten-play cycle, chronicling the African-American experience of the ...
By: McCarterTheatre
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Fences Trailer - McCarter Theatre - Video
Ocean Springs police arrested two individuals who they say attempted to elude capture by jumping fences and hiding in a vehicle.
Eric Nathaniel Freeland, 23, of Ocean Springs and a juvenile were arrested after officers received a report at about 7:10 p.m. Saturday of two males in the Parktown subdivision breaking into various unlocked vehicles in driveways.
Patrolman Phillip Pearson and Sgt. Brian Kestner made contact with Freeland, who tried to elude the officers by fleeing on foot. He jumped several fences, but was apprehended at his residence.
The juvenile was apprehended a short time later while hiding inside of one of the vehicles that had been burglarized.
Freeland was in Ocean Springs Jail on Monday, charged with four counts of auto burglary and one count of directing a juvenile in committing a felony, with a $16,000 bond set for each count.
The juvenile was released to his parent while awaiting his appearance in Jackson County Youth Court on four counts of auto burglary.
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Suspects arrested after one jumped fences to evade police
Authorities are looking for a man they say tossed balls of hamburger laced with glass over the fences of two yards in Spokane Valley last week.
The man, described as white and in his 50s by a witness, heaved the tainted meat over fences near the corner of North Vista Road and East Buckeye Avenue around 7 p.m. Thursday, according to a news release. The suspect stood about 6 feet tall, weighed around 250 pounds, is bald and was wearing a gray jacket, according to Spokane County Regional Animal Protection Services (SCRAPS).
The suspect faces potential felony charges of
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Authorities are looking for a man they say tossed balls of hamburger laced with glass over the fences of two yards in Spokane Valley last week.
The man, described as white and in his 50s by a witness, heaved the tainted meat over fences near the corner of North Vista Road and East Buckeye Avenue around 7 p.m. Thursday, according to a news release. The suspect stood about 6 feet tall, weighed around 250 pounds, is bald and was wearing a gray jacket, according to Spokane County Regional Animal Protection Services (SCRAPS).
The suspect faces potential felony charges of first-degree animal cruelty, according to SCRAPS investigators. Anyone with information on the incident is asked to contact the agency at (509)477-2532.
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Man sought for throwing glass-tainted meat to animals - Mon, 23 Dec 2013 PST
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Aluminum Fences Direct - Quality Aluminum Fence at $39 | Pool ...
Themes Coming of Age Within the Cycle of Damaged Black Manhood
Both Troy and Bono relate stories of their childhood in the south and tales of their relationships with difficult fathers to Lyons in Act One, scene four. Their often-painful memories provide a context for understanding the similarities and differences of the generations separating Troy and Bono from Lyons and Cory. Troy's father, like many blacks after the abolishment of slavery was a failed sharecropper. Troy claims that his father was so evil that no woman stayed with him for very long, so Troy grew up mostly motherless. When Troy was fourteen, his father noticed that the mule Troy was supposedly taking care of had wandered off. Troy's father found Troy with a girl Troy had a crush on and severely beat Troy with leather reins. Troy thought his father was just angry at Troy for his disobedience, but proving Troy's father was even more despicable, his father then raped the girl. Troy was afraid of his father until that moment.
At that moment, however, Troy believes he became a man. He could no longer live under the roof with a man that would commit these unacceptable acts, so he left home to be on his own, though he was homeless and broke, with no ties or family elsewhere. Manhood, to Troy, meant separating from his father because of conflict and abuse. The one attribute Troy respected and proudly inherited was a sense of responsibility. Troy's father provided for eleven children, and Troy too became the sole breadwinner for his family.
Bono however, remembers a different type of father. Bono's father was equally depressed about life as Troy's father, but unlike Troy's father, Bono's dad never provided a fathering or providing role to Bono and his family. Bono describes his father as having, "The Walking Blues," a condition that prevented his father from staying in one place for long and moving frequently from one woman to the next. Bono could barely recognize his father and knew little about him. Bono says his father, like many other African Americans of his father's generation, were "searching out The New Land." As blacks were freed from slavery and wanted to escape the often slavery-like conditions of sharecropping, many walked north in what history calls The Great Migration, to pursue a better life in the north, particularly in urban centers. Because of Bono's father's unreliable personality, Bono chose not to father children, to insure he would not abandon a child like his father. But, contrary to Bono's fears, his father's personality was not a family trait, but a choice he made to cope with his particular circumstances. Bono has been loyal to his wife, Lucille for almost eighteen years.
Lyons and Cory had very different upbringings, though their development into men does not fall too far from the tree of their father's experience. Lyons spent his entire childhood growing up with only one parent, his mother, while Troy was in jail. Lyons feels he has the right to make his own life decisions and pursue his own dreams in music because he had more familial support and fewer hardships than Troy. Troy was not around to mold him into a responsible person, so Lyons tends to need to borrow money, though he does pay Troy back respectfully. Cory ends up leaving home in a similar conflict with Troy that Troy had with Cory's paternal grandfather. To Troy and Cory, becoming a man comes to mean leaving the man that raised you because of a violent conflict. This painful process of coming of age is confusing. For both Troy and Cory, the creation of their own identity when their role model is a creature of dualitypart responsible and loyal, the other side, hurtful, selfish and abusive, proves a difficult model with which to mold their own identity as grown men with a more promising future than the father who threatens their livelihood.
Much of the conflict in Wilson's plays, including Fences, arises because the characters are at odds with the way they see the past and what they want to do with the future. For example, Troy Maxson and his son, Cory see Cory's future differently because of the way they interpret history. Troy does not want Cory to experience the hardship and disappointment Troy felt trying to become a professional sports player, so he demands that Cory work after school instead of practicing with the football team. Cory, however, sees that times changed since baseball rejected a player as talented as Troy because of the color of his skin. Cory knows the possibility exists that the professional sports world will include, not exclude him. In Act One, Scene Three, Cory provides examples of successful African American athletes to Troy. Cory says, "The Braves got Hank Aaron and Wes Covington. Hank Aaron hit two home runs today. That makes forty-three." Troy responds, "Hank Aaron ain't nobody." Cory's sport, football, integrated its players years before baseball. For Troy to accept this change in the world would cause Troy to accept the death of his own dreams. Troy refuses to see Cory's potential because it would mean accepting his own misfortune. Troy and Cory see history in a way that benefits their worldview. Unfortunately this conflict pushes father and son away from each other. Troy, who learned a responsible work ethic from his otherwise abusive father, means well when he insists that Cory return to work at the A&P because he sees the job as fair, honest work that isn't at the mercy of powerful whites' sometimes arbitrary decisions, as in Major League baseball. But by attempting to insure Cory of a harmless future, Troy stifles his son's potential and prevents Cory from having a promising future.
Troy's perception of what is right and what is wrong for Cory, based on Troy's refusal to perceive a historical change in the acceptance of blacks, tragically causes Cory to experience a disappointing fate similar to Troy's. Troy passes his personal history on to his family in other ways throughout the play with sayings that represent his philosophies of life like, "You gotta take the crookeds with the straights." His children also inherit Troy's past by learning songs he sings like, "Hear It Ring! Hear It Ring!" a song Troy's own father taught him. Cory tells Rose in Act Two, scene five, "Papa was like a shadow that followed you everywhere." Troy's songs and sayings link his family to the difficult life in the south that his generation was free to run away from, though penniless and without roots in the north. Troy's purposefully and inadvertently passes on his life experience to his children and family, for better and for worse.
Troy and Rose choose divergent coping methods to survive their stagnant lives. Their choices directly correspond to the opposite perspectives from which they perceive their mutual world. In Act Two, scene one, Troy and Rose say that they both feel as if they have been stuck in the same place since their relationship began eighteen years ago. However, Rose and Troy handle their frustration and disappointment with their intertwined lives differently. This difference in their viewpoints is evident early on in the play. In Act One, scene one, Troy proves through his story about his battle with Death that he is a dreamer and a believer in self-created illusions. To Troy, his struggle with Death was an actual wrestling match with a physical being. Rose, on the other hand, swiftly attempts to bring Troy back to reality, explaining that Troy's story is based on an episode of pneumonia he had in July, 1941. Troy ignores Rose's pragmatic, realistic perception of his fight with death. Troy brags about his wrestling match with Death. Rose unsuccessfully refutes his story by mentioning that every time he tells the story he changes the details. Troy is unmoved by Rose's evidence against his illusion. Rose, as pacifier of the Maxson family, relents, making a final comment, "Troy, don't nobody wanna be hearing all that stuff." Later, when Troy weaves a story about encountering the devil, Rose buttons his long account with two simple words, "Troy lying."
The one impractical activity Rose takes part in is playing numbers. She has dreams and hopes for the future, like Lyons who also plays the numbers and wants to be successful in a difficult profession, jazz music. In Act One, scene two, "Troy says to Rose, "You ain't doing nothing but throwing your money away." And when Cory proposes that they buy a television in Act one, scene three, Troy makes an excuse that they need to spend the money on a new roof. When it comes to other characters' impractical decisions, Troy suddenly becomes a realist, selfishly reserving the right to dream for him only. This response comes across hypocritically from a man who later, in the same scene, will refuse to admit Hank Aaron gets enough playing time or when Cory proves a point about Sandy Koufax, Troy's futile response is, "I ain't thinking of no Sandy Koufax," as if not thinking about him will make Koufax nonexistent.
Later, in Act Two, scene one, Troy admits his affair with Alberta to Rose, excusing his behavior by expressing to Rose that spending time with Alberta allowed him to provide an illusion of accomplishment and escape from responsibility. Troy says, "Then when I saw that galI got to thinking that if I triedI just might be able to steal second." Troy perceives his relationship with Alberta as a laudable move in a baseball game, as a personal accomplishment. Rose sees Troy's lies and deception about the affair as simple and straightforward self-absorbed betrayal. She says, "We're not talking about baseball! We're talking about you going off to lay in bed with another woman[w]e ain't talking about no baseball." In the final scene, Rose copes with the death of Troy with her typically pragmatic view. "I do know he meant to do more good than harm." Troy dies, swinging a baseball bat, still attached to unfulfilled dreams of his past while Rose serves as peacemaker and practitioner of love with her family while they grapple with Troy's confrontational legacy.
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SparkNotes: Fences: Themes, Motifs, and Symbols
Houses, it seems, should not be judged by curb appeal alone. From the front, most semi-detached homes look more or less alike, but beyond the front door everything changes. In The Insistent Garden, Rosie Chards second novel, set in 1960s England, she ignores the front of the house entirely in favour of whats happening in the back: Wilf Stoker is building a wall.
The Stokers wall runs the full length of the garden and serves as a kind of extension of the party wall he has no choice but to share with the man next door. Wilf hates his neighbour with such purity that, day after day, he and his daughter Edith work on the wall, which, at eight-feet and counting, requires constant upkeep.
Edith doesnt know the genesis of either the wall or her fathers hatred for Edward Black, the invisible neighbour, but neither does she ask any questions. Her fathers anxiety has percolated down, instilling in her a great fear of the man next door and a larger, harder to explain, feeling of shame.
The wall isnt visible from the street, but it is to their neighbours (the ones she cares about) and to anyone who enters the kitchen at the back of the house. Not that many do, since the Stokers are reclusive and Edith has almost no friends.
If Ediths life were a colour, it would be the drab grey of an unwashed sock. Recently finished high school and feeling unspoken pressure to stay home and look after her father, Edith is more isolated than ever, her life only punctuated by her bullying Aunt Vivians unpleasant weekly visits. Without plan or passion, Edith is drifting.
Everyone has a trigger, and for Edith its the appearance of a gardening magazine in the mail. Something about the cover image captivates her, and even though her Aunt Vivian instructs her to throw it away, she later sneaks back and retrieves the cover from the kitchen garbage. Its her first act of rebellion.
The desire for a garden of her own quickly follows and she is soon consumed with daydreams of flowers and colour growing in the shadow of her fathers wall.
As she plots her garden, Edith allows herself to wonder about her mother, who died under mysterious circumstances when Edith was a baby. As the garden grows, so too do Ediths questions, propelling her out of her safe, dull life at home and out meeting new people and exploring new parts of her town.
As a visual metaphor, the garden is a good, if obvious, choice, and Chards background as a landscape architect makes the planning and planting of the garden detailed and lively.
Watching Edith come alive with an interest all her own is the most compelling part of the novel.
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Review: Fences make good neighbours until garden takes root