Tail Insurance Quotes

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However, as a guarantee of its renewed youth, the symbolical phoenix never reappeared before the eyes of the world without having consumed solemnly the remains and evidences of its previous life. So also Moses saw to it that all those who had known Egypt and her mysteries should end their life in the desert; at Ephesus St Paul burnt all books which treated of the occult sciences; and in fine, the French Revolution, daughter of the great Johannite Orient and the ashes of the Templars, spoliated the churches and blasphemed the allegories of the Divine Cultus. But all doctrines and all revivals proscribe Magic and condemn its mysteries to the flames and to oblivion. The reason is that each religion or philosophy which comes into the world is a Benjamin of humanity and insures its own life by destroying its mother. It is because the symbolical serpent turns ever devouring its own tail; it is because, as essential condition of existence, a void is necessary to every plenitude, space for every dimension, an affirmation for each negation: herein is the eternal realization of the phoenix allegory.
Éliphas Lévi (Transcendental Magic: Its Doctrine and Ritual)
I can follow pretty much every programming language out there, I can make a two-hundred-year-old diary out of some really nasty ingredients, I can even make sense out of the instruction booklets that come with IKEA furniture, but I can*not* make heads or tails of this nonsense right here.
Keith R.A. DeCandido (The Zoo Job (Leverage, #2))
You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.
Terri Irwin (Steve & Me)
There can be no liberal politics without a sense of we—of what we are as citizens and what we owe each other. If liberals hope ever to recapture America’s imagination and become a dominant force across the country, it will not be enough to beat the Republicans at flattering the vanity of the mythical Joe Sixpack. They must offer a vision of our common destiny based on one thing that all Americans, of every background, actually share. And that is citizenship. We must relearn how to speak to citizens as citizens and to frame our appeals—including ones to benefit particular groups—in terms of principles that everyone can affirm. Ours must become a civic liberalism.* This does not mean a return to the New Deal. Future liberals cannot be like the liberals of yore; too much has changed. But it will require that the spell of identity politics that has held two generations in its thrall be broken so that we can focus on what we share as citizens. I hope to convince my fellow liberals that their current way of looking at the country, speaking to it, teaching the young, and engaging in practical politics has been misguided and counterproductive. Their abdication must end and a new approach must be embraced.   It is a bittersweet truth that there has never been a better opportunity in half a century for liberals to start winning the country back. Republicans since Trump’s election are in disarray and intellectually bankrupt. Most Americans now recognize that Reagan’s “shining city upon a hill” has turned into rust belt towns with long-shuttered shops, abandoned factories invaded by local grasses, cities where the water is undrinkable and guns are everywhere, and homes across the country where families are scraping by with part-time minimum-wage jobs and no health insurance. It is an America where Democrats, independents, and many Republican voters feel themselves abandoned by their country. They want America to be America again. But there is no again in politics, just the future. And there is no reason why the American future should not be a liberal one. Our message can and should be simple: we are a republic, not a campsite. Citizens are not roadkill. They are not collateral damage. They are not the tail of the distribution. A citizen, simply by virtue of being a citizen, is one of us. We have stood together to defend the country against foreign adversaries in the past. Now we must stand together at home to make sure that none of us faces the risk of being left behind. We’re all Americans and we owe that to each other. That’s what liberalism means.
Mark Lilla (The Once and Future Liberal: After Identity Politics)
Tampa is now the national insurance-fraud champ. And one of the oldest but still effective methods is the Swoop-and-Squat. The scam artist targets a victim and tails him until conditions are optimal. Then he zooms past and cuts back in front of him and hits the brakes. It’s nearly impossible to avoid a rear-end crash. And under Florida law, the person in back is automatically at fault in the accident because theoretically the person in front has no control over someone following too close. If you’re lucky, they’ll just go for collision damage; if not, they’ll fake whiplash and jam you up for thousands in medical, pain and suffering . . . But I’ve developed a foolproof strategy to not only defeat this tactic, but punish the scofflaw and hopefully illuminate the error of his ways.” “He’s racing past us,” said Coleman. “The Swoop.” “Now he cutting back in. He’s hitting his brakes.” “The Squat.” Serge was already applying his own brakes. “Wow,” said Coleman. “You were right. He was trying to make us crash.” “The fucker,” said Serge. “It’s like Manson all over again.
Tim Dorsey (The Riptide Ultra-Glide (Serge Storms #16))