African-American travel experiences.

Before the legislative accomplishments of the Civil Rights Movement, black travelers in the United States faced major problems unknown to most whites. White supremacists had long sought to restrict black mobility, and were uniformly hostile to black strangers.  As a result, simple auto journeys for black people were fraught with difficulty and potential danger. They were subjected to racial profiling by police departments ("driving while black"), sometimes seen as "uppity" or "too prosperous" just for the act of driving, which many whites regarded as a white prerogative. They risked harassment or worse on and off the highway. A bitter commentary published in a 1947 issue of the National Association for the Advancement of Colored People's magazine, "The Crisis", highlighted the uphill struggle blacks faced in recreational travel:  Thousands of communities in the US had enacted Jim Crow laws that existed after 1890; in such sundown towns, African-Americans were in danger if they stayed past sunset. Such restrictions dated back to colonial times, and were found throughout the United States. After the end of legal slavery in the North and later in the South after the Civil War, most freedmen continued to live at little more than a subsistence level, but a minority of African-Americans gained a measure of prosperity. They could plan leisure travel for the first time. Well-to-do blacks arranged large group excursions for as many as 2,000 people at a time, for instance traveling by rail from New Orleans to resorts along the coast of the Gulf of Mexico.  In the pre-Jim Crow era this necessarily meant mingling with whites in hotels, transportation and leisure facilities. They were aided in this by the Civil Rights Act of 1875, which had made it illegal to discriminate against African-Americans in public accommodations and public transportation. They encountered a white backlash, particularly in the South, where by 1877 white Democrats controlled every state government. The Act was declared unconstitutional by the Supreme Court of the United States in 1883, resulting in states and cities passing numerous segregation laws. White governments in the South required even interstate railroads to enforce their segregation laws, despite national legislation requiring equal treatment of passengers.  The Supreme Court of the United States ruled in "Plessy v. Ferguson" (1896) that "separate but equal" accommodations were constitutional, but in practice, facilities for blacks were far from equal, generally being of lesser quality and underfunded. Blacks faced restrictions and exclusion throughout the United States: if not barred entirely from facilities, they could use them only at different times from whites or in (usually inferior) "colored sections". In 1917, black writer W. E. B. Du Bois observed that the impact of "ever-recurring race discrimination" had made it so difficult to travel to any number of destinations, from popular resorts to major cities, that it was now "a puzzling query as to what to do with vacations". It was a problem that came to affect an increasing number of black people in the first decades of the 20th century. Tens of thousands of southern African-Americans migrated from farms in the south to factories and domestic service in the north. No longer confined to living at a subsistence level, many gained disposable income and time to engage in leisure travel.  The development of affordable mass-produced automobiles liberated black Americans from having to rely on the "Jim Crow cars" – smoky, battered and uncomfortable railroad carriages which were the separate but decidedly unequal alternatives to more salubrious whites-only carriages. One black magazine writer commented in 1933, in an automobile, "it's mighty good to be the skipper for a change, and pilot our craft whither and where we will. We feel like Vikings. What if our craft is blunt of nose and limited of power and our sea is macademized; it's good for the spirit to just give the old railroad Jim Crow the laugh."  Middle-class blacks throughout the United States "were not at all sure how to behave or how whites would behave toward them", as Bart Landry puts it. In Cincinnati, the African-American newspaper editor Wendell Dabney wrote of the situation in the 1920s that "hotels, restaurants, eating and drinking places, almost universally are closed to all people in whom the least tincture of colored blood can be detected". Areas without significant black populations outside the South often refused to accommodate them: black travelers to Salt Lake City in the 1920s were stranded without a hotel if they had to stop there overnight. Only six percent of the more than 100 motels that lined U.S. Route 66 in Albuquerque, admitted black customers. Across the whole state of New Hampshire, only three motels in 1956 served African-Americans.  George Schuyler reported in 1943, "Many colored families have motored all across the United States without being able to secure overnight accommodations at a single tourist camp or hotel." He suggested that black Americans would find it easier to travel abroad than in their own country. In Chicago in 1945, St. Clair Drake and Horace A. Cayton reported that "the city's hotel managers, by general agreement, do not sanction the use of hotel facilities by Negroes, particularly sleeping accommodations". One incident reported by Drake and Cayton illustrated the discriminatory treatment meted out even to blacks within racially mixed groups:

Coping with discrimination on the road.

While automobiles made it much easier for black Americans to be independently mobile, the difficulties they faced in traveling were such that, as Lester B. Granger of the National Urban League puts it, "so far as travel is concerned, Negroes are America's last pioneers". Black travelers often had to carry buckets or portable toilets in the trunks of their cars because they were usually barred from bathrooms and rest areas in service stations and roadside stops. Travel essentials such as gasoline were difficult to purchase because of discrimination at gas stations.  To avoid such problems on long trips, African-Americans often packed meals and carried containers of gasoline in their cars. Writing of the road trips that he made as a boy in the 1950s, Courtland Milloy of the "Washington Post" recalled that his mother spent the evening before the trip frying chicken and boiling eggs so that his family would have something to eat along the way the next day.  One black motorist observed in the early 1940s that while black travelers felt free in the mornings, by the early afternoon a "small cloud" had appeared. By the late afternoon, "it casts a shadow of apprehension on our hearts and sours us a little. 'Where', it asks us, 'will you stay tonight?'" They often had to spend hours in the evening trying to find somewhere to stay, sometimes resorting to sleeping in haylofts or in their own cars if they could not find anywhere. One alternative, if it was available, was to arrange in advance to sleep at the homes of black friends in towns or cities along their route. However, this meant detours and an abandonment of the spontaneity that for many was a key attraction of motoring.  The civil rights leader John Lewis has recalled how his family prepared for a trip in 1951: Finding accommodation was one of the greatest challenges faced by black travelers. Not only did many hotels, motels, and boarding houses refuse to serve black customers, but thousands of towns across the United States declared themselves "sundown towns", which all non-whites had to leave by sunset. Huge numbers of towns across the country were effectively off-limits to African-Americans. By the end of the 1960s, there were an estimated 10,000 sundown towns across the United States – including large suburbs such as Glendale, California (population 60,000 at the time); Levittown, New York (80,000); and Warren, Michigan (180,000). Over half the incorporated communities in Illinois were sundown towns. The unofficial slogan of Anna, Illinois, which had violently expelled its African-American population in 1909, was "Ain't No Niggers Allowed".  Even in towns which did not exclude overnight stays by blacks, accommodations were often very limited. African-Americans migrating to California to find work in the early 1940s often found themselves camping by the roadside overnight for lack of any hotel accommodation along the way. They were acutely aware of the discriminatory treatment that they received. Courtland Milloy's mother, who took him and his brother on road trips when they were children, recalled:  African-American travelers faced real physical risks because of the widely differing rules of segregation that existed from place to place, and the possibility of extrajudicial violence against them. Activities that were accepted in one place could provoke violence a few miles down the road. Transgressing formal or unwritten racial codes, even inadvertently, could put travelers in considerable danger.  Even driving etiquette was affected by racism; in the Mississippi Delta region, local custom prohibited blacks from overtaking whites, to prevent their raising dust from the unpaved roads to cover white-owned cars. A pattern emerged of whites purposely damaging black-owned cars to put their owners "in their place". Stopping anywhere that was not known to be safe, even to allow children in a car to relieve themselves, presented a risk; Milloy noted that his parents would urge him and his brother to control their need to use a bathroom until they could find a safe place to stop, as "those backroads were simply too dangerous for parents to stop to let their little black children pee". Racist local laws, discriminatory social codes, segregated commercial facilities, racial profiling by police, and sundown towns made road journeys a minefield of constant uncertainty and risk.  Road trip narratives by blacks reflected their unease and the dangers they faced, presenting a more complex outlook from those written by whites extolling the joys of the road. Milloy recalls the menacing environment that he encountered during his childhood, in which he learned of "so many black travelers... just not making it to their destinations". Even foreign black dignitaries were not immune to the discrimination that African-American travelers routinely encountered. In one high-profile incident, Komla Agbeli Gbedemah, the finance minister of newly-independent Ghana, was refused service at a Howard Johnson's restaurant at Dover, Delaware, while traveling to Washington, D.C., even after identifying himself by his state position to the restaurant staff. The snub caused an international incident, to which an embarrassed President Dwight D. Eisenhower responded by inviting Gbedemah to breakfast at the White House.  Repeated and sometimes violent incidents of discrimination directed against black African diplomats, particularly on U.S. Route 40 between New York and Washington, D.C., led to the administration of President John F. Kennedy setting up a Special Protocol Service Section within the State Department to assist black diplomats traveling and living within the United States. The State Department considered issuing copies of "The Negro Motorist Green Book" to black diplomats, but eventually decided against steering them to black-friendly public accommodations as it wanted them to be treated equally to white diplomats.  John A. Williams wrote in his 1965 book, "This Is My Country Too", that he did not believe "white travelers have any idea of how much nerve and courage it requires for a Negro to drive coast to coast in America". He achieved it with "nerve, courage, and a great deal of luck", supplemented by "a rifle and shotgun, a road atlas, and "Travelguide", a listing of places in America where Negroes can stay without being embarrassed, insulted, or worse". He noted that black drivers needed to be particularly cautious in the South, where they were advised to wear a chauffeur's cap or have one visible on the front seat and pretend they were delivering a car for a white person. Along the way, he had to endure a stream of "insults of clerks, bellboys, attendants, cops, and strangers in passing cars". There was a constant need to keep his mind on the danger he faced; as he was well aware, "[black] people have a way of disappearing on the road".

Role of the "Green Book".

Segregation meant that facilities for African-American motorists were limited, but entrepreneurs of both races realized the lucrative opportunities in marketing goods and services to black patrons. The challenge for travelers was to find such oases in the middle of a desert of discrimination. To address this problem, African-American writers produced a number of guides to provide travel advice.  These included directories of hotels, camps, road houses, and restaurants which would serve African-Americans. Jewish travelers, who had long experienced discrimination at many vacation spots, created guides for their own community, though they were at least able to visibly blend in more easily with the general population. African-Americans followed suit with publications such as "Hackley and Harrison's Hotel and Apartment Guide for Colored Travelers", published in 1930 to cover "Board, Rooms, Garage Accommodations, etc. in 300 Cities in the United States and Canada".  "The Negro Motorist Green Book" was one of the best known of the African-American travel guides. It was conceived in 1932 and first published in 1936 by Victor H. Green, a World War I veteran from New York City who worked as a mail carrier and later as a travel agent. He said his aim was "to give the Negro traveler information that will keep him from running into difficulties, embarrassments and to make his trip more enjoyable". According to an editorial written by Novera C. Dashiell in the 1956 edition of the "Green Book", "the idea crystallized when not only [Green] but several friends and acquaintances complained of the difficulties encountered; oftentimes painful embarrassments suffered which ruined a vacation or business trip".  Green asked his readers to provide information "on the Negro motoring conditions, scenic wonders in your travels, places visited of interest and short stories on one's motoring experience". He offered a reward of one dollar for each accepted account, which he increased to five dollars by 1941. He also obtained information from colleagues in the U.S. Postal Service, who would "ask around on their routes" to find suitable public accommodations. The Postal Service was and remains one of the largest employers of African-Americans, and its employees were ideally situated to inform Green of which places were safe and hospitable to African-American travelers.  The "Green Book's" motto, displayed on the front cover, urged black travelers to "Carry your Green Book with you – You may need it". The 1949 edition included a quote from Mark Twain: "Travel is fatal to prejudice", inverting Twain's original meaning; as Cotten Seiler puts it, "here it was the visited, rather than the visitors, who would find themselves enriched by the encounter". Green commented in 1940 that the "Green Book" had given black Americans "something authentic to travel by and to make traveling better for the Negro".  Its principal goal was to provide accurate information on black-friendly accommodations to answer the constant question that faced black drivers: "Where will you spend the night?" As well as essential information on lodgings, service stations and garages, it provided details of leisure facilities open to African Americans, including beauty salons, restaurants, nightclubs and country clubs. The listings focused on four main categories – hotels, motels, tourist homes (private residences, usually owned by African-Americans, which provided accommodation to travelers), and restaurants. They were arranged by state and subdivided by city, giving the name and address of each business. For an extra payment, businesses could have their listing displayed in bold type or have a star next to it to denote that they were "recommended".  Many such establishments were run by and for African-Americans and in some cases were named after prominent figures in African-American history. In North Carolina, such black-owned businesses included the Carver, Lincoln, and Booker T. Washington hotels, the Friendly City beauty parlor, the Black Beauty Tea Room, the New Progressive tailor shop, the Big Buster tavern, and the Blue Duck Inn. Each edition also included feature articles on travel and destinations, and included a listing of black resorts such as Idlewild, Michigan; Oak Bluffs, Massachusetts; and Belmar, New Jersey. The state of New Mexico was particularly recommended as a place where most motels would welcome "guests on the basis of 'cash rather than color'".

Influence.

The "Green Book" attracted sponsorship from a number of businesses, including the African-American newspapers "Call and Post" of Cleveland, and the "Louisville Leader" of Louisville. Standard Oil (later Esso) was also a sponsor, owing to the efforts of James "Billboard" Jackson, a pioneering African-American Esso sales representative. Esso's "race group", part of its marketing division, promoted the "Green Book" as enabling Esso's black customers to "go further with less anxiety". By contrast, Shell gas stations were known to refuse black customers.  The 1949 edition included an Esso endorsement message that told readers: "As representatives of the Esso Standard Oil Co., we are pleased to recommend the "Green Book" for your travel convenience. Keep one on hand each year and when you are planning your trips, let Esso Touring Service supply you with maps and complete routings, and for real 'Happy Motoring' – use Esso Products and Esso Service wherever you find the Esso sign." Photographs of some African-American entrepreneurs who owned Esso gas stations appeared in the pages of the "Green Book".  Although Green usually refrained from editorializing in the "Green Book", he let his readers' letters speak for the influence of his guide. William Smith of Hackensack, New Jersey, described it as a "credit to the Negro Race" in a letter published in the 1938 edition. He commented:  Earl Hutchinson Sr., the father of journalist Earl Ofari Hutchinson, wrote of a 1955 move from Chicago to California that "you literally didn't leave home without [the "Green Book"]". Ernest Green, one of the Little Rock Nine, used the "Green Book" to navigate the from Arkansas to Virginia in the 1950s and comments that "it was one of the survival tools of segregated life". According to the civil rights leader Julian Bond, recalling his parents' use of the "Green Book", "it was a guidebook that told you not where the best places were to eat, but where there was "any" place". Bond comments:  While the "Green Book" was intended to make life easier for those living under Jim Crow, its publisher looked forward to a time when such guidebooks would no longer be necessary. As Green wrote, "there will be a day sometime in the near future when this guide will not have to be published. That is when we as a race will have equal opportunities and privileges in the United States. It will be a great day for us to suspend this publication for then we can go as we please, and without embarrassment."  Los Angeles is now considering offering special protection to the sites that kept black travelers safe. Ken Bernstein, principal planner for the city's Office of Historic Resources notes, "At the very least, these sites can be incorporated into our city's online inventory system. They are part of the story of African Americans in Los Angeles, and the story of Los Angeles itself writ large."

Publishing history.

The "Green Book" was published locally in New York, but its popularity was such that from 1937 it was distributed nationally with input from Charles McDowell, a collaborator on Negro affairs for the U.S. Travel Bureau, a government agency. With new editions published annually from 1936 to 1940, the "Green Book's" publication was suspended during World War II and resumed in 1946.  Its scope expanded greatly during its years of publication; from covering only the New York City area in the first edition, it eventually covered facilities in most of the United States and parts of Canada (primarily Montreal), Mexico, and Bermuda. Coverage was good in the eastern United States and weak in Great Plains states such as North Dakota, where there were few black residents. It eventually sold around 15,000 copies per year, distributed by mail order, by black-owned businesses and Esso service stations, some of which—unusual for the oil industry at the time—were franchised to African Americans.  It originally sold for 25 cents, increasing to $1.25 by 1957. With the book's growing success, Green retired from the post office and hired a small publishing staff that operated from 200 West 135th Street in Harlem. He also established a vacation reservation service in 1947 to take advantage of the post-war boom in automobile travel. From 10 pages in its first edition, by 1949 he had expanded the "Green Book" to more than 80 pages, including advertisements. The Green Book was printed by Gibraltar Printing and Publishing Co.  The 1951 "Green Book" recommended that black-owned businesses raise their standards, as travelers were "no longer content to pay top prices for inferior accommodations and services". The quality of black-owned lodgings was coming under scrutiny, as many prosperous blacks found them to be second-rate compared to the white-owned lodgings from which they were excluded. In 1952, Green renamed the publication "The Negro Travelers' Green Book", in recognition of its coverage of international destinations requiring travel by plane and ship.  Although segregation was still in force, by state laws in the South and often by practice elsewhere, the wide circulation of the "Green Book" had attracted growing interest from white businesses that wanted to tap into the potential sales of the black market. The 1955 edition noted: A few years after its publication... white business has also recognized its ["The Green Book"’s] value and it is now in use by the Esso Standard Oil Co., The American Automobile Assn. and its affiliate automobile clubs throughout the country, other automobile clubs, air lines, travel bureaus, travelers aid, libraries and thousands of subscribers.  By the start of the 1960s, the "Green Book"s market was beginning to erode. Even before the passage of the Civil Rights Act of 1964, African-American civil rights activism was having the effect of lessening racial segregation in public facilities. An increasing number of middle-class African Americans were beginning to question whether guides such as the "Green Book" were accommodating Jim Crow by steering black travelers to segregated businesses rather than encouraging them to push for equal access. Black-owned motels in remote locations off state highways lost customers to a new generation of integrated interstate motels located near freeway exits. The 1963 "Green Book" acknowledged that the activism of the civil rights movement had "widened the areas of public accommodations accessible to all", but it defended the continued listing of black-friendly businesses because "a family planning for a vacation hopes for one that is free of tensions and problems".  The final edition was renamed, now called the "Travelers' Green Book: 1966-67 International Edition: For Vacation Without Aggravation"; it was the last to be published after the Civil Rights Act of 1964 made the guide effectively obsolete by outlawing racial discrimination in public accommodation. That edition included significant changes that reflected the post-Civil Rights Act outlook. As the new title indicated, it was no longer just for the Negro, nor solely for the motorist, as its publishers sought to widen its appeal. Although the content continued to proclaim its mission of highlighting leisure options for black travelers, the cover featured a drawing of a blonde Caucasian woman waterskiing, – a sign of how, as Michael Ra-Shon Hall puts it, "the Green Book 'whitened' its surface and internationalized its scope, while still remaining true to its founding mission to ensure the security of African-American travelers both in the U.S. and abroad".

Representation in other media.

In the 2000s, academics, artists, curators, and writers exploring the history of African-American travel in the United States during the Jim Crow era revived interest in the "Green Book". The result has been a number of projects, books and other works referring to the "Green Book". The book itself has acquired a high value as a collectors' item; a "partly perished" copy of the 1941 edition sold at auction in March 2015 for $22,500. Some examples are listed below.

Photography projects.

Architecture at sites listed in the "Green Book" is being documented by photographer Candacy Taylor in collaboration with the National Park Service's Route 66 Corridor Preservation Program. She is also planning to publish other materials and apps featuring such sites.

The Negro Motorist Green Book (also The Negro Motorist Green-Book, The Negro Travelers' Green Book, or simply the Green Book) was an annual guidebook for African-American roadtrippers. It was originated and published by African American, New York City mailman Victor Hugo Green from 1936 to 1966, during the era of Jim Crow laws, when open and often legally prescribed discrimination against African Americans especially and other non-whites was widespread. Although pervasive racial discrimination and poverty limited black car ownership, the emerging African-American middle class bought automobiles as soon as they could, but faced a variety of dangers and inconveniences along the road, from refusal of food and lodging to arbitrary arrest. In response, Green wrote his guide to services and places relatively friendly to African-Americans, eventually expanding its coverage from the New York area to much of North America, as well as founding a travel agency.

《黑人驾驶绿皮书》(或称为《黑人驾驶绿书》,《黑人旅行者绿皮书》, 简称为《绿皮书》)是一本为美国非裔公路旅行者提供的指南,每年更新。它是由吉姆·克劳法(Jim Crow Laws)时代纽约市的一名邮递员维克多·雨果·格林(Victor Hugo Green)于1936年至1966年写作出版的。当时针对非裔或其他人种的公开歧视非常普遍,而且经常是法律许可的。尽管歧视和普遍贫困限制了黑人拥有汽车,但新兴的非裔中产阶级还是尽其所能购买了汽车。然而他们却面临着旅途中的各种危险和不便,可能不被提供食宿,甚至遭到任意逮捕。针对这种情况,格林撰写了这本服务指南,介绍了纽约地区对黑人相对友好的服务点和城区,最终这个介绍范围扩展到了北美大部分地区,还成立了一家旅行社。


Report.

Background.

Tyres.

The tyre compounds provided for this race were the hypersoft, ultrasoft and supersoft.

Practice.

Max Verstappen was fastest across all three practice sessions, improving his time in each successive session. In FP2, Grosjean hit a groundhog that was on the track, damaging his front wing, and reducing the Haas team's spare parts.

Qualifying.

Romain Grosjean's car had a major engine failure as it left the pitlane in Q1 meaning he failed to set a lap time, and raced at the stewards' discretion. In Q2, when Sebastian Vettel was completing his final flying lap, he aborted the lap because Carlos Sainz, Nico Hülkenberg and a number of other cars were driving slowly along the back straight, leading him to pull into the pits. In Q3, Vettel took pole with a new track record however his teammate made a mistake in Turn 2, meaning he would qualify in P6.

Race.

The grid got away largely without incident from the line, but in turn 5, Brendon Hartley and local driver Lance Stroll collided, forcing their immediate retirement and the deployment of the safety car. At the restart, Sergio Pérez touched Sainz, forcing Pérez off the track, losing positions. On Lap 18, Daniel Ricciardo overcut Lewis Hamilton for the fourth position. On lap 46, Fernando Alonso retired from the race with an exhaust issue.  Race officials erroneously directed model Winnie Harlow to wave the chequered flag before race leader Vettel completed lap 69 (the scheduled penultimate lap) and therefore the results were taken from lap 68, according to the Formula 1 sporting regulations article 43.2. This meant that Ricciardo's successively faster fastest laps on laps 69 and 70 were voided, and Sergio Pérez's overtake on Kevin Magnussen for 13th did not stand.

The 2018 Canadian Grand Prix (formally known as the Formula 1 Grand Prix Heineken du Canada 2018) is a Formula One motor race that took place on 10 June 2018 at the Circuit Gilles Villeneuve in Montreal, Quebec, Canada. The race was the 7th round of the 2018 FIA Formula One World Championship. The race was won by Sebastian Vettel of Ferrari. It was the 55th running of the Canadian Grand Prix, the 49th time the event had been included as a round of the Formula One World Championship since the inception of the series in, and the 39th time that a World Championship was held at Circuit Gilles Villeneuve. Fernando Alonso also celebrated his 300th Grand Prix entry at this race. This race was Ferrari's first win in Canada since Michael Schumacher won here in 2004.

2018年加拿大大奖赛(英语:2018 Canadian Grand Prix),官方名称为2018年一级方程序赛车海尼根加拿大大奖赛(),是2018年6月10日举办于加拿大的一场一级方程序赛车赛事。比赛在吉尔·维伦纽夫赛道进行,总计70圈。这是2018年世界一级方程序锦标赛的第7场分站赛事,及第55届加拿大大奖赛,也是自1950年并入世界锦标赛后的第49届加拿大大奖赛。


Plot.

On October 29, 2018, Michael Myers, who has been institutionalized at Smith's Grove Psychiatric Hospital for forty years following his killing spree in Haddonfield, is being prepared for transfer to a maximum security prison. True crime journalists Aaron Korey and Dana Haines visit the hospital and, during their encounter, Aaron presents the mask that Michael wore in 1978 to him, to no effect. The following day, as he is being transferred, Michael purposely crashes the bus, kills a father and son for their car, and returns to Haddonfield.  In Haddonfield, Laurie Strode (Jamie Lee Curtis) is still living in fear of Michael; she is drinking heavily, rarely leaving her fortified house and alienating herself from her daughter Karen (Judy Greer), whom the state took away from her at age 12. The only person she keeps in contact with is Karen's daughter, Allyson (Andi Matichak).  On the morning of October 31, Michael sees Aaron and Dana visiting his sister Judith's grave. He follows them to a gas station where he kills them both, as well as a mechanic for his coveralls, and then recovers his old mask from Aaron's car. Deputy Frank Hawkins (Will Patton), who arrested Michael in 1978, tries to convince Sheriff Barker about the danger Michael poses after learning that he has escaped. Laurie also learns of Michael's escape and attempts to warn Karen, but Karen dismisses her concerns, urging Laurie to move on with her life.  Later that night, at a costume party, Allyson finds her boyfriend Cameron cheating on her, and leaves with his friend Oscar. Meanwhile, while babysitting, Allyson's best friend Vicky and her boyfriend Dave are attacked and killed by Michael. Deputy Hawkins and Laurie overhear the incident on the radio and go over to the house. Laurie sees Michael, coming face-to-face with him for the first time in forty years. Laurie shoots Michael in the shoulder before he flees.  Dr. Ranbir Sartain (Haluk Bilginer), Michael's psychiatrist, persuades Sheriff Barker to allow him to help in the hunt for Michael. Meanwhile, on the walk home from the party, Michael finds and kills Oscar, and Hawkins and Sartain arrive just in time to rescue Allyson. Hawkins then tries to kill Michael but Sartain – who has become obsessed with Michael's enigmatic motivations – attacks and leaves Hawkins for dead, and it is revealed that he orchestrated Michael's escape in order to be able to study him "in the wild". However Michael then kills Sartain and Allyson flees from the scene.  Michael arrives at Laurie's house, where she and Karen have gone to meet with Allyson. Laurie manages to get Karen to safety before she engages in a showdown with Michael. Laurie severely injures Michael, but then he stabs her in the abdomen and pushes her over a balcony. When Michael goes to check Laurie's body, he finds it missing. Allyson arrives and calls out for her grandmother, luring Michael and giving Karen the opportunity to shoot him in the jaw.  Laurie suddenly reappears and attacks Michael, trapping him inside the basement safe room with Karen and Allyson's help. The trio set the house ablaze, and Laurie says goodbye to Michael before she begins to faint and let her daughters quickly hitchhike a passerby vehicle to take her to the hospital. A final shot of the burning basement is shown, with Michael nowhere in sight. In a post-credits scene, Michael's breathing is heard, indicating that he survived.

Production.

Development.

In 2011, a sequel to 2009's "Halloween II" titled "Halloween 3D", was announced for an October 26, 2012 release date. At the time, no director or writer was attached to the project. Originally, Patrick Lussier and Todd Farmer were set as writers, but dropped out due to their involvement with a "Hellraiser" reboot. The film was to pick up where the final frame of its 2009 predecessor left off, and would pay homage to the original version of Michael Myers from the 1978 film. It was dropped from its initial October 26, 2012 date, as no progress had been made.  In February 2015, Patrick Melton and Marcus Dunstan were reported as writing a new "Halloween" film, described as a "recalibration" rather than a reboot, which Malek Akkad and Matt Stein were producing. On June 15, 2015, The Weinstein Company was reported to be moving ahead with another "Halloween" sequel, tentatively titled "Halloween Returns", with Dunstan directing. It would have been a standalone film set to reintroduce audiences to Michael Myers years after his initial rampage from "Halloween" and 1981's "Halloween II", as he was confronted by a new generation of victims while on death row.  On October 22, 2015, producer Malek Akkad revealed that the production of "Halloween Returns" had been postponed, stating that the extra time would result in a better film. Malek said on the matter, In December 2015, it was announced that Dimension Films no longer had the filming rights to "Halloween", after "Halloween Returns" failed to go into production on schedule. The film's cancellation was confirmed at the same time. The rights then reverted to Miramax.  On May 24, 2016, Blumhouse Productions and Miramax were announced to be co-financing a new film, with Universal Pictures distributing through the studio's output deal with Blumhouse. Blumhouse CEO Jason Blum called the original "Halloween" a milestone that had influenced the company to begin making horror films, "The great Malek Akkad and John Carpenter have a special place in the hearts of all genre fans and we are so excited that Miramax brought us together." The rights specifically went to Miramax and Tarik Akkad, who sought out Blum because of his success as a horror film producer.

Writing and pre-production.

When John Carpenter, who had co-written the first two "Halloween" films with Debra Hill and directed the original, signed on as an executive producer in 2016, he described his intention: "Thirty-eight years after the original "Halloween", I'm going to help to try to make the 10th sequel the scariest of them all." He discussed his reasoning for revisiting the series for the first time since producing 1982's "" in an interview with Rotten Tomatoes, "I talked about the "Halloweens" for a long time, the sequels — I haven't even seen all of them [...] But finally it occurred to me: Well if I'm just flapping my gums here, why don't I try to make it as good as I can? So, you know, stop throwing rocks from the sidelines and get in there and try to do something positive." When the rights were acquired by Blumhouse, filmmaker Adam Wingard discussed making a new "Halloween" film, but ultimately dropped out after being sated by an email of encouragement from Carpenter, "I kinda walked away from it like, I just got everything I wanted out of this job. 'This is about as good as it gets.'" On February 9, 2017, David Gordon Green and Danny McBride were announced as handling screenwriting duties, with Green directing and Carpenter advising the project. Carpenter said that he was impressed with the pitch presented by the co-writers, solicited by Jason Blum, proclaiming that "They get it."  Rather than reboot the series again, they initially chose to focus primarily on continuing the mythology of the first two films when developing the story, with Danny McBride stating, "We all came to the decision that remaking something that already works isn't a good idea. So we just have a reimagining instead." The pitch was created by the writers specifically to present to Carpenter, as they were self-described fans of the original "Halloween". The story was eventually fleshed out so that all of the sequels were ignored from the new film's continuity, and the ending of the first film was retconned in what McBride likened to an alternate reality. However, he later said that the film still pays tribute to the other follow-ups, despite sharing no direct continuity, "you know like there's so many different versions, and the timeline is so mixed up, we just thought it would be easier to go back to the source and continue from there. It was nicer than knowing you're working on "Halloween 11", it just seemed cooler, 'we're making "Halloween 2". For fans, we pay homage and respect to every "Halloween" that has been out there." Despite Green and McBride's comedy roots, "Halloween" was distanced from the comedy genre. McBride further elaborated that "I think there was, like, maybe one joke on the page, but the rest is straight horror." Believing that "good horror movie directors are good directors", Jason Blum hired Green for his perceived "amazing" storytelling. No major steps were taken without Carpenter's approval, including the acceptance of the initial pitch and bringing back actress Jamie Lee Curtis.  Displeased with Rob Zombie's re-imagining and added backstory of murderer Michael Myers, Carpenter wanted to take the character back to his more mysterious roots, describing him as "a force of nature. He's supposed to be almost supernatural." McBride detailed his approach as humanizing the character, "I think we're just trying to take it back to what was so good about the original. It was just very simple and just achieved that level of horror that wasn't turning Michael Myers into some being that couldn't be killed. I want to be scared by something that I really think could happen. I think it's much more horrifying to be scared by someone standing in the shadows while you're taking the trash out."  Early on, the script for the film had Laurie's daughter Jamie Lloyd from the original continuity's "" and "" appear alongside Laurie for the first time. However, subsequent rewrites changed her to 'Karen'. Even before those early plans were publicly known, Danielle Harris, who played Jamie, objected, feeling strongly about Laurie having a daughter that was not Jamie, but her appeals to the production company were dismissed.

Casting.

In September 2017, Jamie Lee Curtis confirmed that she would reprise her role as Laurie Strode. In contrast to the character's final girl role in the original film, Laurie armed herself and prepared extensively in the time period between films in case Michael Myers returned. Although "Halloween II" and its later installments have portrayed Myers as a familicidal killer and Laurie as his sister, the writers felt that the added motive made him less frightening as a killer. As such, they intentionally ignored that aspect of the lore. In the film, Laurie's granddaughter Allyson (Andi Matichak) explains how her life has been impacted by Michael's reign of terror 40 years earlier. When a friend hints that they heard Michael was Laurie's brother, Allyson replies, "No, it was not her brother, that was something people made up." The writers did not originally know if Curtis would be willing to return, according to McBride, so they "busted [their] ass on this script to really make that Laurie Strode character something she wouldn't be able to say no to." On why she returned, Curtis stated, "As soon as I read what David Green and Danny McBride had come up with... and the way that they connected the dots of the story, it made so much sense to me that it felt totally appropriate for me to return to Haddonfield, Ill., for another 40th-anniversary retelling. It's the original story in many, many, many ways. Just retold 40 years later with my granddaughter." Curtis had previously returned as Laurie in the sequels "Halloween II" (1981), "" (1998), and "" (2002). The following October, Judy Greer entered negotiations to play Laurie's daughter, Karen Nelson. On December 7, 2017, Andi Matichak was cast to play Laurie's granddaughter Allyson.  Danielle Harris, who played Jamie Lloyd in the original continuity's "Halloween 4" and "Halloween 5", contacted Blumhouse with the offer to reprise her role in some way, but the studio went with a different daughter character even though she had begun life as Jamie in the script, to Harris and certain horror publications' disappointment: "I was okay with it when she had a son... but they're saying it's the last one and... she has a daughter. And it's not Jamie. It's just kind of a bummer, I guess."  On December 20, 2017, it was announced that Nick Castle, who had portrayed Michael Myers in the original film, would reprise his role, with actor and stuntman James Jude Courtney set to portray Myers as well. Courtney was suggested to Malek Akkad and David Gordon Green by stunt coordinator Rawn Hutchinson for his ability to do both physical stunts and genuine acting, auditioning afterwards and receiving a phone call in December 2017 affirming that he had landed the role. Green explained to him his vision for Myers's mannerisms, an amalgamation of Castle's original performance and the addition of an efficient cat-like style of movement. Courtney tailored his portrayal to those specifications from observing an actual cat, "I think cats are the most perfect hunting machines on the planet. And the beauty of it is we don't judge a cat for what a cat does. So I sort of carried that movement and the non-judgmental approach to the way I moved as The Shape, which I learned from my cat Parcival." He referred to collaborating with Castle as an "honor", while Castle described it as a "passing of the torch". Courtney used John Carpenter and Castle's work on the original film to determine how the forty years that transpired between the events of the films would inform the character over time. The December 2017 announcement of Nick Castle's participation was widely reported as his retaking the role of Michael Myers he originated, with James Jude Courtney only doing additional work as the character. However, a 2018 interview with Courtney revealed that Castle's screentime was minimal and that the great majority of the work under the mask was done by Courtney himself, which led to the question of whether the return of original Myers portrayer Nick Castle had been misrepresented by the production.  On January 13, 2018, Virginia Gardner, Miles Robbins, Dylan Arnold, and Drew Scheid were confirmed to play Allyson's friends. On January 16, 2018, Will Patton was publicized to have joined the film's roster. He was later joined by Rob Niter, both actors being announced to portray police officers, as well as British actress Rhian Rees, who was cast as a character named Dana. Speaking of the cast, Nick Castle stated that "What I like about this (new film) is they've got some really good young actors. They fleshed out the relationship of Jamie's character with her daughter and her granddaughter. And they made some choices that I think are really bold choices about who these people are and why they are the way they are now."  On July 27, 2018, it was announced that a sound-alike actor would provide a voice-over for Dr. Sam Loomis, who was originally portrayed by Donald Pleasence. In the film, the voice of Dr. Loomis is heard giving advice that Michael be executed, claiming that Michael needed to be killed because there was no point in keeping evil alive. Loomis is featured in a vocal cameo when Aaron and Dana listen to a recording of Loomis, made three months after the events of the original film. Loomis is voiced by sound-alike comedian Colin Mahan.  Additionally, P. J. Soles, who had portrayed Lynda van der Klok, Michael's final victim in the original film, was cast in a spoken cameo role as a teacher.

Filming.

Principal production began on January 13, 2018 in Charleston, South Carolina. Originally, it was set to begin in late October 2017, but was delayed until January. Michael Simmonds served cinematography duties, with Paul Daley and Stewart Cantrell operating the camera. According to Danny McBride, the horror of the film aims to create a sense of tension and dread to the audience rather than relying on graphic violence; the make-up and visual effects were provided by Christopher Nelson. Jamie Lee Curtis finished her scenes on February 16, 2018, with the remaining principal photography concluding on February 19, 2018. Response to the film's first test screening led the filmmakers to schedule reshoots beginning June 11, 2018. Filming once again took place in Charleston.  Courtney had a week of rehearsal before filming began. Nelson used a life cast of his face to construct the Michael Myers mask and other prosthetics worn by the actor. The mask was weathered and aged to reflect the character's "authentic evolution" since the original. Courtney was involved in every scene featuring Myers, including those of Nick Castle, who was only involved for a minimal amount of filming, which Castle described to the journalists on set as a cameo appearance: "Jim is our Michael Myers now." Castle reprises his role in one scene with Curtis, playing as the character's reflection in a window and did all of Michael Myers' breathing sounds in post-production. Castle expressed that it was the filmmakers' intention to maintain the atmosphere of the original and that, like the 1978 film, "it's very neighborhood-centric... There are a lot of things coinciding (in the new film) that feel like clever ways to introduce a kind of déjà vu of the first one, without feeling like it's being copied. It was the first thing out of their mouths really: 'We want to do it like John [Carpenter] did it.'"  Nelson accompanied Courtney throughout filming, providing him with acting advice from his own knowledge of the characters of the "Halloween" films. Nelson had been interviewed and examined for the film by Akkad and Green after a conversation with Blumhouse producer Ryan Turek, who he was already acquainted with. Collaborating with fellow make-up effects artist Vincent Van Dyke, some of his designs and concepts were initially rejected due to legal complications, which were later straightened out as he began his work on the film. Rather than trying to copy the design of the original mask, he intended on recapturing what he described as the visual "feeling" of it. Because the film is set forty years after the events of the original, he studied the decomposition and wrinkling of forty-year-old masks over time while outlining his take on Myers's look, "You're not creating just a mask. You're creating a feeling that you get that does have an expression... But also the mask looks completely different in every single angle it's ever been photographed at, and I wanted that feeling too." Courtney was hired after Nelson advised Green not to cast a hulking stuntman in the role in compliance with the first film.

Music.

After previously providing the score for the original "Halloween", "Halloween II", and "Halloween III: Season of the Witch", John Carpenter confirmed in October 2017 that he had made a deal to score the 2018 release. Regarding his take on the sequel, he said, "I'll be consulting with the director to see what he feels. I could create a new score, we could update the old score and amplify it, or we could combine those two things. I'll have to see the movie to see what it requires."

Release.

"Halloween" had its world premiere at the Toronto International Film Festival on September 8, 2018, as part of its Midnight Madness section. It was theatrically released on October 19.

Marketing.

The studio spent an estimated $75.5 million on prints and advertisements for "Halloween". The CinemaCon film convention premiered exclusive footage on April 25, 2018, garnering positive reactions from those in attendance. The film had a presentation at the San Diego Comic-Con in Hall H on July 20, 2018, with Jamie Lee Curtis, David Gordon Green, Malek Akkad, and Jason Blum in attendance. During the panel, which featured an extended scene and trailer, Curtis discussed how the film ties in with the Me Too movement, describing it as a film about "trauma", stating, "[Laurie's] taking back her narrative. She has carried the trauma and PTSD of someone who was attacked [...] And there comes a point where you say, I am not a victim. And this is a person who has been waiting 40 years [for the chance]."  The first trailer for the film was released on June 8, 2018, followed by a second trailer on September 5, 2018.

Merchandising.

Trick or Treat Studios obtained the official costume licensing rights for the film. Both Nelson and Vincent Van Dyke joined their design team, who used toolings from the screen-used mold of Michael Myers's mask to adapt it for mass market sale. The company NECA will be releasing action figures of both Michael Myers and, for the first time ever, Laurie Strode from the film.

Home media.

"Halloween" was released digitally on December 28, 2018, and was released on 4K Ultra HD Blu-ray, Blu-ray, and DVD on January 15, 2019.

Reception.

Box office.

"Halloween" grossed $159.3 million in the United States and Canada, and $96.1 million in other territories, for a total worldwide gross of $255.5 million. "Deadline Hollywood" calculated the net profit of the film to be $128.5 million, when factoring together all expenses and revenues.  In the United States and Canada, the film made $7.7 million from Thursday night previews, the fourth-highest ever for an R-rated horror film after "It", "It Chapter Two" and "Paranormal Activity 3". "Halloween" then grossed $33.3 million on its first day (including previews) and went on to debut to $76.2 million, marking the second-best ever opening weekend of October and the highest of the "Halloween" franchise. Its opening performance was also the best-ever for a film starring a lead actress over 55 years old. With its weekend performance alone, the film became the highest-grossing of the franchise. The film dropped 58% in its second weekend but retained the top spot, grossing $32 million. After making $5.5 million on Halloween day (a Wednesday), the film then made $10.8 million in its third weekend, falling to fifth.  Worldwide, it earned more than around $100 million, including $12–30 million from 21 markets internationally. It ended up having a global opening weekend of $90.5 million, including $14.3 million from outside the United States. The largest markets were Mexico ($5 million), Australia ($4.8 million), the United Kingdom ($3.6 million) and Russia ($1.8 million). The film made another $25.6 million from international markets in its second weekend, for a running total of $45.6 million.

Critical response.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 79% based on 360 reviews, with an average rating of 6.8/10. The website's critical consensus reads, ""Halloween" largely wipes the slate clean after decades of disappointing sequels, ignoring increasingly elaborate mythology in favor of basic – yet still effective – ingredients." On Metacritic, the film has a weighted average score of 67 out of 100, based on 51 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, the same score earned by the last "Halloween" film starring Curtis, "", and higher than the "B–" of Rob Zombie's 2007 film. PostTrak reported filmgoers gave it an overall 75% positive score and a 65% "definite recommend," and social media monitor RelishMix noted a "positive buzz" response to the film online.  Peter Debruge of "Variety" felt that the film brings the series back to its roots, calling it "an act of fan service disguised as a horror movie. The fact it works as both means that [director] Green [...] has pulled off what he set out to do, tying up the mythology that Carpenter and company established, while delivering plenty of fresh suspense — and grisly-creative kills — for younger audiences". Writing for "The Verge", Bryan Bishop said the film was "better than almost every other sequel in the franchise" and "a fitting coda to a story that began 40 years ago", while Leah Greenblatt of "Entertainment Weekly" described it as "a faithful, fundamental sequel (and funny too)". In his review for Bloody Disgusting, Joe Lipsett wrote, "All in all, "Halloween" is a worthy entry in the franchise [...] Everything really clicks at the finale, which makes sense considering the film exists to pit Laurie against Michael. And in this capacity, "Halloween" doesn't disappoint". Jonathan Barkan of Dread Central wrote, ""Halloween" pays loving and respectful homage to the 1978 original while making a very bold and decisive claim for its own existence," also noting, "... this is quite possibly the scariest Michael Myers has ever been."  In a mixed review, Eric Kohn of IndieWire criticized the film's dialogue and staging, but said "Carpenter's own "Halloween" was itself a bumpy ride, made on the cheap, but carried along by the director's firm grasp on his potent themes. The new one works overtime to keep them intact, while communing with the first installment in every possible way — from that famously creepy synth score to the blocky orange credits that bookend the story". "RogerEbert.com"s Brian Tallerico gave "Halloween" two out of four stars, writing it "is admirable in its thematic relation to Carpenter's vision, but the no-nonsense, tightly-directed aspect of the influential classic just isn't a part of this one. Carpenter's movie is so tautly refined that the sometimes incompetent slackness of this one is all the more frustrating. As is the complete lack of atmosphere, another strength of the original". "Forbes" Scott Mendelson thought the film is "not very good or tightly-directed, and it fails as a character play and a scary movie". Christopher Stewardson from Our Culture Mag wrote "Raising some interesting questions about indifference to escalating horror, Halloween draws Michael Myers in the modern world with consideration and calculated frights."

Accolades.

The film was the runner-up for at this Toronto International Film Festival in 2018.  The film received four "Fangoria" Chainsaw Award nominations: Best Wide Release, Best Actor (Courtney / Castle), Best Actress (Curtis), and Best Makeup FX (Nelson).  The film was also nominated for Best Horror Film at the Saturn Awards while Jamie Lee Curtis has won Best Actress.  Rhian Rees, who plays Dana Haines, was nominated for Most Frightened Performance at the 2019 MTV Movie & TV Awards.

Sequels.

In June 2018, McBride confirmed that he and Green had originally intended to pitch two films that would be shot back-to-back, and then decided against it, waiting to see the reaction to the first film: "We were going to shoot two of them back-to-back. Then we were like, 'Well, let's not get ahead of ourselves. This could come out, and everyone could hate us, and we'd never work again. So, let's not have to sit around for a year while we wait for another movie to come out that we know people aren't going to like.' So, we were like, 'Let's learn from this, and see what works, and what doesn't.' But we definitely have an idea of where we would go [with] this branch of the story and hopefully we get a chance to do it."  In September 2018, producer Jason Blum said that "we will do a sequel if the movie performs". By October 2018, after the film's opening weekend, McBride confirmed that early development on a sequel had begun.  In February 2019, "Collider" exclusively confirmed Scott Teems was in talks as the screenwriter, having collaborated with Blumhouse Productions on several projects in development. Teems had also written a story treatment for the film prior to the negotiations. Blum, Akkad and Block will return as producers, while Curtis, Greer and Matichak are expected to reprise their roles.  In June 2019, it was reported that a sequel would begin filming in September 2019, with Green returning to write the script and direct and Curtis, Greer, and Matichak reprising their roles from the 2018 film. In July 2019, the titles and release dates of two sequels were announced: "Halloween Kills", set to be released on October 16, 2020, and "Halloween Ends", set to be released on October 15, 2021. Green will direct both films and co-write the scripts with McBride, and Curtis will reprise her role in both films. Teems was confirmed as a co-writer for "Halloween Kills", while Paul Brad Logan and Chris Bernier were announced to co-write "Halloween Ends".  On July 26, 2019, it was confirmed that Nick Castle will return for both sequels for some scenes as Michael Myers with James Jude Courtney again playing Myers for the majority of the films.  On August 26, 2019, it was announced that Anthony Michael Hall would join the cast as Tommy Doyle, a character portrayed by Brian Andrews in the original "Halloween" film and Paul Rudd in "". On August 30, 2019, it was announced that Kyle Richards would reprise her role as Lindsey Wallace from the original film.

Halloween is a 2018 American slasher film directed by David Gordon Green and written by Green, Jeff Fradley, and Danny McBride. It is the eleventh installment in the "Halloween" film series and a direct sequel to the 1978 film of the same name while effecting a retcon of all previous sequels. It stars Jamie Lee Curtis and Nick Castle who reprise their respective roles as Laurie Strode and Michael Myers, with stuntman James Jude Courtney also portraying Myers. The film also stars Judy Greer, Andi Matichak, Will Patton, and Virginia Gardner. The plot follows a post-traumatic Laurie Strode who prepares to face Michael Myers in a final showdown on Halloween night, forty years after she survived his killing spree.

《月光光新慌慌》(英语:Halloween)是一部于2018年上映的美国恐怖片,由大卫·高登·格林执导,并由格林、丹尼·麦布莱和杰夫·佛莱德利共同撰写剧本。该片是《月光光心慌慌系列电影》系列的第十一部电影作品,同时作为1978年电影《月光光-{心}-慌慌》的直接续集,以追溯形式修正整个电影系列,忽视1978年电影之后的所有续集。洁美·李·寇蒂斯和尼克·坎斯罗回归饰演洛莉·史特罗德和麦克·迈尔斯 (月光光心慌慌),而由特技演员詹姆斯·朱德·寇特尼全片饰演迈尔斯;其他新增演员包括茱蒂·葛瑞儿、安蒂·马提恰克、威尔·派顿和维吉妮亚·嘉纳。


Discussion of three conditions.

We need the first condition because if the leading coefficient is negative then formula_9 for all large formula_10, and thus formula_7 is not a (positive) prime number for large positive integers formula_8. (This merely satisfies the sign convention that primes are positive.)  We need the second condition because if formula_13 where the polynomials formula_14 and formula_15 have integer coefficients, then we have formula_16 for all integers formula_8; but formula_14 and formula_15 take the values 0 and formula_20 only finitely many times, so formula_7 is composite for all large formula_8.  The third condition, that the numbers formula_7 have gcd 1, is obviously necessary, but is somewhat subtle, and is best understood by a counterexample. Consider formula_24, which has positive leading coefficient and is irreducible, and the coefficients are relatively prime; however formula_7 is "even" for all integers formula_8, and so is prime only finitely many times (namely when formula_27, in fact only at formula_28).  In practice, the easiest way to verify the third condition is to find one pair of positive integers formula_29 and formula_8 such that formula_31 and formula_7are relatively prime. We describe a general way to calculate the gcd of formula_33 Any integer-valued polynomial formula_34can be written in the basis of binomial coefficient polynomials:  where each formula_36 is an integer, and formula_37  For the above example, we have:  and the coefficients in the second formula have gcd 2, which implies that formula_39 has even values on the integers.  Using this gcd formula, it can be proved formula_40 if and only if there are positive integers formula_29 and formula_8 such that formula_31 and formula_7 are relatively prime.

Examples.

formula_45.

An example of Bunyakovsky's conjecture is the polynomial "f"("x") = "x" + 1, for which some prime values are listed below. (Values of "x" form OEIS sequence ; those of "x" + 1 form ) That formula_46 should be prime infinitely often is a problem first raised by Euler, and it is also the fifth Hardy–Littlewood conjecture and the fourth of Landau's problems. Despite the extensive numerical evidence, it is not known that this sequence extends indefinitely.

Cyclotomic polynomials.

The cyclotomic polynomials formula_47for formula_48 satisfy the three conditions of Bunyakovsky's conjecture, so for all "k", there should be infinitely many natural numbers "n" such that formula_49 is prime. It can be shown that if for all "k", there exists an integer "n" > 1 with formula_49 prime, then for all "k", there are infinitely many natural numbers "n" with formula_49 prime.  The following sequence gives the smallest natural number "n" > 1 such that formula_49 is prime, for formula_48:  This sequence is known to contain some large terms: the 545th term is 2706, the 601st is 2061, and the 943rd is 2042. This case of Bunyakovsky's conjecture is widely believed, but again it is not known that the sequence extends indefinitely.  Usually, there is integer 2≤n≤φ(k) such that formula_49 is prime (note that the degree of formula_49 is φ(k)), but there are exceptions, the exception numbers k are

Partial results: only Dirichlet's theorem.

To date, the only case of Bunyakovsky's conjecture that has been proved is that of polynomials of degree 1. This is Dirichlet's theorem, which states that when formula_56 and formula_29 are relatively prime integers there are infinitely many prime numbers formula_58. This is Bunyakovsky's conjecture for formula_59 (or formula_60 if formula_61). The third condition in Bunyakovsky's conjecture for a linear polynomial formula_62 is equivalent to formula_56 and formula_29 being relatively prime.  No single case of Bunyakovsky's conjecture for degree greater than 1 is proved, although numerical evidence in higher degree is consistent with the conjecture.

Generalized Bunyakovsky conjecture.

Given "k ≥" 1 polynomials with positive degrees and integer coefficients, each satisfying the three conditions, assume that for any prime "p" there is an "n" such that none of the values of the "k" polynomials at "n" are divisible by "p". Given these assumptions, it is conjectured that there are infinitely many positive integers "n" such that all values of these "k" polynomials at "x = n" are prime.  Note that the polynomials {"x", "x" + 2, "x" + 4} do not satisfy the assumption, since one of their values must be divisible by 3 for any integer x = "n". Neither do {"x", "x" + 2}, since one of the values must be divisible by 3 for any "x = n". On the other hand, {"x" + 1, 3"x" - 1, "x" + "x" + 41} do satisfy the assumption, and the conjecture implies the polynomials have simultaneous prime values for infinitely many positive integers "x = n".  This conjecture includes as special cases the twin prime conjecture (when "n" = 2, and the two polynomials are "x" and "x" + 2) as well as the infinitude of prime quadruplets (when "n" = 4, and the four polynomials are "x", "x" + 2, "x" + 6, and "x" + 8), sexy primes (when "n" = 2, and the two polynomials are "x" and "x" + 6), Sophie Germain primes (when "n" = 2, and the two polynomials are "x" and 2"x" + 1), and Polignac's conjecture (when "n" = 2, and the two polynomials are "x" and "x" + "k", with "k" any even number). When all the polynomials have degree 1 this is Dickson's conjecture.  In fact, this conjecture is equivalent to the Generalized Dickson conjecture.  Except for Dirichlet's theorem, no case of the conjecture has been proved, including the above cases.

The Bunyakovsky conjecture (or Bouniakowsky conjecture) gives a criterion for a polynomial formula_1 in one variable with integer coefficients to give infinitely many prime values in the sequenceformula_2 It was stated in 1857 by the Russian mathematician Viktor Bunyakovsky. The following three conditions are necessary for formula_1 to have the desired prime-producing property:

布尼亚科夫斯基猜想是由俄罗斯数学家布尼亚科夫斯基于1857年提出的观点,以判定单变量的整系数多项式formula_1的序列中是否会出现无限个质数。以下三个条件是formula_1满足前述造出无限质数的必要条件:


Early life and education.

Born to a samurai family in Kagoshima, Satsuma Domain (present day Kagoshima Prefecture), Makino was the second son of Ōkubo Toshimichi, but adopted into the Makino family at a very early age.  In 1871, at age 11, he accompanied Ōkubo on the Iwakura Mission to the United States as a student, and briefly attended school in Philadelphia. After he returned to Japan, he attended Tokyo Imperial University, but left without graduating.

Career.

Makino entered the Foreign Ministry. Assigned to the Japanese London Embassy, he made the acquaintance of Itō Hirobumi.  After serving as governor of Fukui Prefecture (1891–1892) and Ibaraki Prefecture (1892–1893), Ambassador to the Austro-Hungarian Empire and Ambassador to Italy, he served as Minister of Education under the 1st Saionji Cabinet, and as Minister of Agriculture and Commerce under the 2nd Saionji Cabinet. He was also appointed to serve on the Privy Council. Under the 1st Yamagata Cabinet, he was appointed Foreign Minister. Makino aligned his policies closely with Itō Hirobumi and later, with Saionji Kinmochi, and was considered one of the early leaders of the Liberalism movement in Japan. He was appointed to be one of Japan's ambassador plenipotentiaries to the Paris Peace Conference of 1919, headed by the former Prime Minister Saionji. Makino was "de facto" chief while Saionji's role was symbolic. Makino and his delegation put forth a racial equality proposal at the conference which did not pass.  In 1907, Makino elevated in rank to "danshaku" (baron) under the "kazoku" peerage system. In 1913, Makino became Minister of Foreign Affairs. On September 20, 1920, he was awarded the Grand Cordon of the Order of the Rising Sun with Paulownia Flowers. In February 1921, he became Imperial Household Minister and elevated in rank to "shishaku" (viscount). Behind the scenes, he strove to improve Anglo-Japanese and Japanese-American relations, and he shared Saionji Kinmochi's efforts to shield the Emperor from direct involvement in political affairs. In 1925, he was appointed Lord Keeper of the Privy Seal of Japan. He relinquished the post in 1935 and was elevated in the title to "hakushaku" (count). Although he relinquished his positions, his relations with Emperor Shōwa remained good, and he still had much power and influence behind the scenes. This made him a target for the militarists, and he narrowly escaped assassination at his villa in Yugawara during the February 26 Incident in 1936. He continued to be an advisor and exert a moderating influence on the Emperor until the start of World War II.

Later life and death.

Makino was also the first president of the Nihon Ki-in Go Society, and a fervent player of the game of "go".  After the war, his reputation as an "old liberalist" gave him high credibility, and the politician Ichirō Hatoyama attempted to recruit him to the Liberal Party as its chairman. However, Makino declined for reasons of health and age. He died in 1949, and his grave is at the Aoyama Cemetery in Tokyo.

Personal life.

Noted post-war Prime Minister Shigeru Yoshida was Makino's son-in-law. One of his grandchildren Ken'ichi Yoshida was a literary scholar. The former Prime Minister, Tarō Asō, is Makino's great-grandson. His great-granddaughter, Nobuko Asō, married Prince Tomohito of Mikasa, a first cousin of Emperor Akihito. In addition, Ijūin Hikokichi, the former Minister of Foreign Affairs, was the brother-in-law of Makino.

Count was a Japanese politician and imperial court official. As Lord Keeper of the Privy Seal of Japan, Makino served as Emperor Hirohito’s Chief counselor on the monarch’s position in Japanese society and policymaking. On a broader scale, he significantly contributed to the militarization of Japanese society through his extensive patronage of ultranationalist groups and persuasion of Hirohito to sanction the Army’s rampant aggression in China. Even after his retirement in 1935, he remained a close advisor to the throne through the end of World War II.

牧野伸顕(1861年-11月24日-1949年-1月25日)、日本政治家。位阶为从一位。勲等未勲一等。爵位为伯爵。明治维新功臣大久保利通的次子。原名“是利”。前首相吉田茂是其女婿、麻生太郎和宽仁亲王妃信子是其曾孙。


Kingdom and marriages.

Pandu was taught in the fields of archery, politics, administration and religion by Bhishma. He was an excellent archer and Maharathi (warrior). He became the successor to his kingdom and was crowned King of the Kuru Kingdom. He was married to Kunti, the adoptive daughter of Kuntibhoja and the daughter of Shurasena (father of Vasudeva Anakadundubhi and grandfather of Krishna). Her second wife was princes of Madra kingdom Madri. Pandu later conquered the territories of the Sindhu Kingdom, Kashi, Anga, Trigarta Kingdom, Kalinga, Magadha, etc., and thus re-established their supremacy over all the kings and increased the span of his empire.

Curse.

While hunting in a forest, (looking from a distance, his vision partially obscured by plants and trees), Pandu saw a couple of deer in the process of coitus, and shot arrows at them; only to find out that it was Rishi Kindama and his wife who were making love in the form of deer. The dying sage placed a curse on Pandu, since he had not only killed them in the midst of lovemaking, but was not remorseful for his action. King Pandu argued with sage Kindama by misquoting sage Agastya's ruling on the right of Kshatriyas' on hunting. Sage Kindama then cursed Pandu, the curse being that were he to approach his wives with the intent of making love, he would die. Upset and seeking to repent his action, Pandu renounced his kingdom and lived as an ascetic with his wives. It was during this time that his five children were born. Yudishthir, Bheema, Arjun, Nakul and Sahadev were born to Pandu and Kunti from different gods.  One day, Pandu forgot about this curse and suddenly embraced Madri. At the same time, his curse fulfilled and he died. His dead body was cremated in the forest itself.

In the "Mahabharata" epic, Pandu ( "Pāṇḍu", lit. "yellowish", "whitish", "pale") was the king of Hastinapur, the son of Ambalika and Vichitravirya. He is popularly known as the father of the Pandavas, who were called so after him. Pandu was responsible and a great warrior, who expanded his kingdom during his rule.

般度(),《摩诃婆罗多》人物。他是般度族的始祖,持国的弟弟,广博的儿子,奇武王名义上的儿子。


Biography.

Hisamitsu was born in Kagoshima Castle in 1817, the son of Shimazu Narioki, the 10th "daimyō"; Hisamitsu's name at birth was Kanenoshin; his mother was Yura, Narioki's concubine. He was briefly adopted by the Tanegashima clan as an heir, but was returned to the Shimazu family while still a child. At age eight, he was adopted into the Shigetomi-Shimazu, a branch family of the main Shimazu house. Kanenoshin, now named Matajirō, came of age in 1828, and took the adult name. At age 22, following his marriage to the daughter of the previous Shigetomi lord, Tadakimi, he inherited family headship. He was supported as a candidate for succession to the main Shimazu house during the. His half-brother Nariakira won the dispute and succeeded their father as lord of Satsuma; however, following Nariakira's death in 1858, Tadayuki's young son Mochihisa (later known as Tadayoshi) was chosen as the next lord of Satsuma. Tadayuki gained a position of primacy in Satsuma, due to his status as the lord's father. He returned to the main Shimazu house in 1861, and it was then that he changed his name to Hisamitsu.  In 1862, Hisamitsu went to Kyoto, and took part in the increasingly Kyoto-centered politics of the 1860s; he was a part of the "kōbu-gattai" political faction. It was during Hisamitsu's return from a stay in Edo, when three Englishmen on horseback offended his retainers by refusing to dismount or stand aside. Their failure to observe proper etiquette resulted in some argument, a chase, and one was killed, in what came to be known as the Namamugi Incident. Hisamitsu remained at the core of the "kōbu-gattai" movement in Kyoto, until Satsuma's secret alliance with men of Chōshu. He supported the Satsuma domain's military actions in the Boshin War, and retired soon after the Meiji Restoration. In the Meiji era, he was given the rank of duke (), the highest of the newly-created "kazoku" nobility and which was awarded for his clan's participation during the Restoration. Hisamitsu died in 1887, at age 70. He is buried in Kagoshima Prefecture.

Honours.

"From the article in the Japanese Wikipedia"

Prince, also known as "', was a Japanese samurai of the late Edo period. The younger brother of Shimazu Nariakira, Hisamitsu served as regent for his underage son Tadayoshi, who became the 12th and last "daimyō" of Satsuma Domain. Hisamitsu was instrumental in the efforts of the southern Satsuma, Chōshū, and Tosa clans to bring down the Tokugawa Shogunate. Hisamitsu held the court title of "Ōsumi no Kami" (大隈守).

岛津久光(1817年-12月2日(文化(年-文化14年-10月24日-1887年-(明治20年)12月6日)日本幕末萨摩藩事实上的最高权力者。玉里岛津家初代当主。位阶勋等爵位从一位大勋位公爵。字君辉、邦行。幼时雅号德洋,之后的号有大简、双松、玩古道人、无志翁等。


Project history.

Planning.

The outlined "ambitious plans for the Navy’s surface fleet." At its centre was the requirement for twelve Future Submarines and "eight new Future Frigates, which will be larger than the "Anzac"-class vessels" with a focus on anti-submarine warfare. The accompanying Defence Capability Plan stated that a Government decision would be expected "beyond 2019."  The 2013 Defence White Paper reaffirmed the Future Frigate program and suggested that the replacement of the "Anzac"-class vessels could be brought forward. In the early 2010s, there was significant concern over the ‘valley of death’ in Australian shipbuilding following the conclusion of the "Hobart"-class destroyer program. With concerns both over the cost and management of the "Hobart"-class program and a union campaign calling for job security at government-owned shipyard ASC, the Abbott Government committed over $78 million to preliminary studies to determine whether the "Hobart"-class hull could be utilised for the Future Frigate.  The 2016 Defence White Paper increased the number of future frigates by one to a total of nine ships.  Against this backdrop, the Abbott Government commissioned a study by the RAND Corporation to determine options for the future of naval shipbuilding in Australia. The report found that:  In response to the RAND report, the Government announced a $89 billion shipbuilding program. This included bringing forward the Future Frigate program with a "continuous onshore build programme to commence in 2020." The budget for the program has been confirmed as "more than $35 billion" and the Government claims it will "directly create over 2,000 jobs." All nine vessels will be constructed in Adelaide, South Australia.

Tender process.

In April 2016 the government announced a competitive evaluation process between Navantia, Fincantieri and BAE Systems for the Future Frigate Program. Additionally, a tender for the combat system was also held between Saab and Lockheed Martin. In October 2017, the government announced that the Aegis combat system and a Saab tactical interface would be used for the class.

Navantia (F-500(Evolved F-100)).

Navantia offered an evolution of its F-100 base design, which forms the basis for the destroyers currently being built in Adelaide for the RAN. In 2014, the Australian Government commissioned a study to use the "Hobart"-class hull which Navantia claims shows it could be adapted to meet the requirements of the Future Frigate program, including integration of the CEAFAR radar and Saab 9LV combat system. Based on this study, a Navantia-designed Future Frigate would have 75 per cent systems commonality with the "Hobart"-class destroyers. Systems on the "Hobart" class include a 48-cell Mk41 vertical launch system, five-inch Mark 45 naval gun, undersea warfare capabilities including a hull mounted sonar and active and passive towed variable depth sonar, as well as the capability to operate a MH-60R "Romeo" Seahawk.  The "Hobart"-class Air Warfare Destroyer program has attracted criticism for cost and schedule over-runs: by 2015 the program was three years behind schedule and $800 million over budget. In late 2015, Navantia was selected to bring a shipbuilding management team into government-owned shipyard ASC as part of the AWD reform program. Following the reform program, initiated by ASC prior to Navantia management integration, ASC has stated that "when we reach our budget on ship three...we will be as good as the other Aegis yards in the world."

Fincantieri (Modified FREMM).

Fincantieri offered the anti-submarine warfare (ASW) variant of its FREMM frigate ("Bergamini" class). The Italian Navy will purchase four ASW FREMMs and six of the general purpose variants. The vessels are equipped with an Italian weapons and sensor suite, including a 76 mm OTO Melara gun fore and aft, a 16-cell vertical launch system (VLS) for missiles including the MBDA Aster 15 and 30.  Fincantieri says that the general hull configuration of the "Bergamini" design will require little or no modification to meet Australian requirements, including the incorporation of the CEAFAR radar, although it has confirmed that some redesign would be required if Australia requires the incorporation of the US Navy Mark 45 five inch naval gun. However, when discussing the FREMM, Minister for Defence Industry Christopher Pyne said that "the weaponry of course will be United States' weaponry. That will be integrated into the winning vessel."  In 2016, Pyne stated that "one of the advantages for this company is that this vessel has been built, it is already in operation. One of the disadvantages is that the company doesn't operate here."

BAE Systems (Type 26).

BAE Systems offered an export variant of its Type 26. First conceived in 1998, the UK's Future Surface Combatant program was originally intended to replace the Royal Navy's Type 22 and Type 23 frigate fleets. In 2010 BAE Systems were given a four-year contract to fully design a new class of warship, the Type 26 or 'Global Combat Ship.' The 2010 Strategic Defence and Security Review announced that the Royal Navy would procure 13 of the vessels, however repeated delays saw the program scaled back to eight vessels with five slightly smaller, less capable but substantially cheaper vessels, that being the Type 31 warships, which have a target unit cost of £250m, which are also being ordered by the Royal Navy for missions that do not require the level of technology and the same level of survivability.  Construction of the ships in the UK was expected to start in 2016, but was delayed with critics saying it was "due to the Minister of Defence's attempts to save money." Work began in 2017 with the first vessel set to enter service in the early 2020s, after Australia's build program commences. The Royal Navy's eight vessels are expected to cost £8 billion (AUD $13.8 billion).  The Type 26 'Reference Ship Design' will be equipped with an advanced anti-submarine warfare (ASW) capability, a 24-cell strike length Mk 41 VLS for long-range strike weapons such as the Tomahawk, a 48-cell vertical launch silo (VLS) for Sea Ceptor anti-air missiles, a 5-inch gun, and is capable of landing a Chinook helicopter on its flight deck.  In April 2018 BAE claimed it would be able to offer the best ASW performance of the three contenders, despite not having a ship of the class in the water at the time.

Design and construction.

The "Hunter"-class frigate will be an Australian variation of the Type 26 class frigate that is to be operated by the Royal Navy from the mid-2020s. The class will have a full load displacement and will be approximately in length. The vessel will be capable of sailing in excess of and will have a full complement of 180 crew.  A Saab tactical interface with the Aegis combat interface will be used. The vessel will be able to carry one MH-60R ASW helicopter, and has the ability to host other Australian aircraft such as the MRH90 helicopter.  The ships will be built by BAE Systems Australia at Osborne Naval Shipyard.

Ships.

Sources.

The "Hunter"-class frigate is a future class of frigates for the Royal Australian Navy (RAN) to replace the "Anzac"-class. Construction is expected to begin in 2020, with the first of nine vessels to enter service in the late 2020s. The Program is expected to cost AU$35 billion and a request for tender was released in March 2017 to three contenders: Navantia, Fincantieri, and BAE Systems as part of a competitive evaluation process.

猎人级巡防舰,代号SEA 5000,为澳大利亚皇家海军的为汰换安扎克级巡防舰的新型巡防舰,设计母型为英国皇家海军的26型巡防舰,并计划搭载神盾战斗系统。首舰预计在2020年开始建造,预计建造9艘,预计将取代从1996年就开始服役的8艘安扎克级巡防舰 (Anzac-class frigates),并于阿得雷德(Adelaide)建造,计划于2020年代后期开始交付澳洲皇家海军。


Background.

XXXTentacion began working with the producer for "SAD!", John Cunningham, in January 2018 after a preview of an acoustic song was uploaded to X's Instagram page showing Cunningham playing the guitar whilst X sung. On January 11, 2018, X uploaded a gaming video to his YouTube channel showing him playing the popular video game, "PlayerUnknown's Battlegrounds". The intro to the video was a preview for "SAD!" and X further previewed the song a month later in a video on February 4, 2018, using it for his intro, after speculation the song was titled "SAD n Low" following a mass amount of snippets uploaded to YouTube. X went on to preview the song one more time in a YouTube video before its official release a few days later.

Release and reception.

On March 1, 2018, X announced he was releasing two songs from his upcoming album "?", saying on Instagram "Dropping two songs from my album tonight at 12:00 am est, play them more times than you can count." "SAD!" was released on March 2, 2018, on Spotify, Deezer, iTunes/Apple Music and Tidal alongside "Changes".  "HotNewHipHop" compared "SAD!" to the singles on X's debut album, "17" due to its emo hip hop aesthetic, saying "Once again, the young Floridian is veering into emo territory — with a lo-fi synth string loop and crisp percussion, the melodic ballad showcases X's ear for melody." XXL noted how the "upbeat instrumental" varied from the lyrics that shown XXX "struggling with depression and suicide over an ex-lover." "Rap-Up" also pointed out the "emo-melodies" that surround the track and spoke on the theme of suicidal thoughts over an ill-fated romance.  On May 10, 2018, "Billboard" reported that the song was removed from Spotify playlists after their newly enacted hate content and hateful conduct policy came into effect. Six days after the playlist removal, the song's streams dropped 17 percent per day in the United States on average.

Chart performance.

In the United States, "SAD!" debuted at number 17 on the "Billboard" Hot 100 in the week beginning March 12, 2018, becoming XXXTentacion's highest debuting and highest charting song in the country, gaining 66 million streams in 12 days. The song later rose to number seven, making "SAD!" XXXTentacion's first top ten entry in the US.  In the United Kingdom, "SAD!" was at number 33 by the midweek, becoming X's highest charting song in the country next to "Jocelyn Flores", which peaked at 39 and his second top 40 entry. The song officially debuted at number 26, becoming XXXTentacion's first top thirty in the country. "SAD!" reached the top 10 in Sweden, Australia, and New Zealand. It also reached the top 20 in Ireland, and the top 40 in Norway.  "SAD!" amassed 10.4 million streams on Spotify on June 19, 2018, the day after his death, breaking the single-day record for streams on the platform. Following XXXTentacion's death, "SAD!" reached number one on the "Billboard" Hot 100 on the week beginning June 25, 2018, jumping from number 52. He became the first act to earn a posthumous Hot 100 number-one single as a lead artist since The Notorious B.I.G. with "Mo Money Mo Problems" in 1997, and overall, the eighth soloist to have topped the chart posthumously. It also reached number 12 in the Netherlands.

Music video.

The music video for Onfroy's “SAD!" premiered one day after his memorial service at the BB&T Center on June 28, 2018. The video was written and "creative directed" by Onfroy himself, and directed by JMP. In the video, an older X attends the funeral of his younger self. When X approaches the casket to look at his younger self, the younger X suddenly returns to life. The two begin fighting in the church and out in the alley. Before, during, and after the fight, a dark figure speaks to X, asking various questions and advocating for a way of thinking centered on love rather than hate. X defeats his younger self and leaves him lying on the ground in a completely white location. The video concludes with the words "LONG LIVE PRINCE X". The video has over 260 million views across YouTube as of June 2020.

Credits and personnel.

Credits adapted from Tidal.

"Sad!" (stylized in all-caps) is a song by American rapper XXXTentacion from his second studio album, "?" (2018). It was released as the lead single from the album on March 2, 2018. The track was produced by John Cunningham, and written by XXXTentacion. The song is XXXTentacion's highest charting in the United States, peaking at number one on the "Billboard" Hot 100 following his death on June 18, 2018.

《Sad!》(显示风格为全部大写)是美国说唱歌手XXXTentacion第二张录音室专辑《? (XXXTentacion专辑)》(2018年)中的一首歌曲。它作为这张专辑的主打歌曲在2018年3月2日发行。这首歌词曲由XXXTentacion所写,约翰·坎宁安(英语:John Cunningham)负责制作。在XXXtentation谋杀案后,这首歌于2018年6月18日在美国的公告牌百强单曲榜夺冠,创下了他在该榜的最好成绩。


路标 (赛义德·库特布)

History.

"Ma'alim fi al-Tariq" marked the culmination of Qutb's evolution from modernist author and critic, to Islamist activist and writer, and finally to Islamist revolutionary and theoretician. It was written in prison, where Qutb spent 10 years under charges of political conspiracy against Egypt's Nasser regime, and first published in 1964. Four of its thirteen chapters were originally written for Qutb's voluminous Quranic commentary, "Fi Zilal al-Qur'an" (In the shades of the Qur'an).  Less than a year after its publication, Qutb was again arrested and brought to trial in Egypt under charges of conspiring against the state. Excerpts from the book were used to incriminate Qutb and he was found guilty, sentenced to death and executed by hanging in 1966. His death elevated his status to "Shaheed" or martyr in the eyes of many Muslims. "Milestones" became a bestseller and widely distributed across the Arab speaking world. To date, close to 2,000 editions of the work are said to have been published.

Contents.

In his book, Qutb seeks to set out "milestones" or guiding markers along a road that will lead to the revival of Islam from its current "extinction."

Sharia.

According to Qutb, the Muslim community has been "extinct for a few centuries" and reverted to Jahiliyyah (""The state of ignorance of the guidance from God"") because those who call themselves Muslims have failed to follow "the laws of God" or Sharia (also shariah, Shari'a, or Shari'ah), traditional Islamic law. Following the sharia is not just important but a defining attribute of Muslims, more necessary than belief itself, because "according to the Shari'ah, 'to obey' is 'to worship'." This means Muslims must not only refrain from worshiping anything other than God, they must not "obey" anything other than God: "anyone who serves someone other than God"—be that someone (or something) a priest, president, a parliament, or a legal statute of a secular state— is "outside God's religion", although he may "claim to profess this religion".  Qutb sees sharia as much more than a code of religious or public laws. It is a "complete" way of life based on "submission to God alone," crowding out anything non-Islamic. Its rules range from "belief" to "administration and justice" to "principles of art and science." Being God's law, sharia is "as accurate and true as any of the laws known as the 'laws of nature,'" such as gravity or electricity, and part of the universal law "which governs the entire universe".  The modern Muslim world has erred by approaching the Qur'an for the sake of "discussion, learning and information" or "to solve some scientific or legal problem." In fact it should be approached as a source of "instruction for obedience and action" to remove man from the servitude of other men and to the servitude of God.  When of God's law is established on earth, it will lead to blessings falling on all mankind. Sharia is "the only guarantee" against "any kind of discord" in life. and will "automatically" bring "peace and cooperation" among individuals. Knowledge of the "secrets of nature, its hidden forces and the treasures concealed in the expanses of the universe," will be revealed "in an easy manner." The "harmony between human life and the universe" of sharia law will approach the perfection of heaven itself.  Just as sharia is—in Qutb's view—all encompassing and all wonderful, whatever is non-Muslim (or Jahiliyyah) is "evil and corrupt," and its existence anywhere intolerable to true Muslims. In preaching and promoting Islam, for example, it is very important not to demean Islam by "searching for resemblances" between Islam and the "filth" and "the rubbish heap of the West."  According to Qutb, to ignore this fact and attempt to introduce elements of socialism or nationalism into Islam or the Muslim community (as Egypt's Arab Socialist Union government was doing at the time), is against Islam. Qutb stresses that in the early days of Islam, Muhammad did not make appeals to ethnic or class loyalty. Though these crowd-pleasing appeals would have undoubtedly shortened the thirteen years of hardship Muhammad had to endure while calling unresponsive Arabs to Islam, "God did not lead His Prophet on this course.... This was not the way," and so must not be the way now.

Islamic vanguard.

To restore Islam on earth and free Muslims from "jahili society, jahili concepts, jahili traditions and jahili leadership," Qutb preaches that a vanguard ("tali'a") be formed modeling itself after the original Muslims, the companions ("Sahaba") of Muhammad. Qutb believes these Muslims successfully vanquished Jahiliyyah principally in two ways:  Following these principles the vanguard will fight Jahiliyyah with a twofold approach: preaching, and "the movement" (jama'at). Preaching will persuade people to become true Muslims, while the movement will abolish "the organizations and authorities of the Jahili system" by "physical power and Jihaad". Foremost amongst these organizations and people to be removed is the "political power" which rests on a complex, "interrelated ideological, racial, class, social and economic support," but ultimately includes "the whole human environment." Force is necessary, Qutb explains, because it is naive to expect "those who have usurped the authority of God" to give up their power without a fight.  Remaining aloof from Jahiliyyah and its values and culture, but preaching and forcibly abolishing authority within it, the vanguard will travel the road, gradually growing from a cell of "three individuals" to ten, from ten to a hundred, until there are thousands, and blossom into a truly Islamic community. The community may start in the homeland of Islam but this is by no means "the ultimate objective of the Islamic movement of Jihad." Jihad must not merely be defensive, it must be offensive, and its objective must be to carry Islam "throughout the earth to the whole of mankind."  True Muslims should maintain a "sense of supremacy" and "superiority," on the road of renewal, but it is important that they also prepare themselves for a "life until death in poverty, difficulty, frustration, torment and sacrifice", and even to brace themselves for possibility of death by torture at the hands of Jahiliyyah's sadistic, arrogant, mischievous, criminal and degraded people. Qutb ends his book by an example of persecution against Muslims from the Quran's ""surat Al-Burooj"", enjoining modern-day Muslims to endure the same or worse tortures for the sake of carrying out God's will. After all, "this world is not a place of reward"; the believer's reward is in heaven.

Influences.

Islamic.

Two of Qutb's major influences were the medieval Islamic scholar Ibn Taymiya, and contemporary British Indian (later Pakistani) Islamist writer Sayyid Abul Ala Maududi. Both used the historical term "jahiliyya" to describe contemporary events in the Muslim world.  Two other concepts popularized by Qutb in "Milestones" also came from Maududi:  Qutb's precept—that sharia law is essential to Islam. and that any self-described "Muslim" ruler who ignores it in favor of man-made laws is actually a non-Muslim who should be fought and overthrown—came from a fatwa of Ibn Taymiya. According to Quran, whoever judge by any law other than the law of Allah is non-muslim.

Non-Islamic.

Qutb's intense dislike of the West notwithstanding, some of his ideas have been compared to European fascism:  although it differs from that ideology in being based on religion and not on race or ethnicity. Fascism having made some impact among anti-British Arab Muslims before, during, and after World War II. The influence of particular fascist thinkers (particularly French fascist Alexis Carrel) in Qutb's work is disputed.  The centrality of an Islamic 'vanguard' (Arabic: "tali'a") in Qutb's political program also suggests influence from Leninist thinking.

Criticism.

Qutb's book was originally a bestseller and became more popular as the Islamic revival strengthened. Islamists have hailed him as "a matchless writer,... one of the greatest thinkers of contemporary Islamic thought," and compared to Western political philosopher John Locke. Egyptian intellectual Tariq al-Bishri has compared the influence of "Milestones" to Vladimir Lenin's pamphlet "What Is To Be Done?", where the founder of modern Communism outlined his theories of how Communism would be different from socialism.

Takfir.

Critics allege that Qutb's "Milestones" helped to open up a Pandora's box of takfir (by declaring that the Muslim world was actually non-Muslim and so many Muslims not actually Muslims, and potentially guilty of apostasy) that has brought serious internal strife, in particular terrorism, to the Muslim world in recent decades.

Christians and Jews as Polytheists.

Qutb repeatedly proclaims that "serving human lords" is intolerable and is a practice Islam "has come to annihilate." Christians and Jews are guilty of it since, according to Qutb, they give priests and rabbis "the authority to make laws" and "it is clear that obedience to laws and judgments is a sort of worship." Because of this, Qutb says, these religions are actually polytheist, not monotheist.Qutb says this from chapter number 9 and verse number 31 from the Quran.

Western and Jewish Conspiracies.

Qutb asserted that "World Jewry" was and is engaged in conspiracies whose "purpose" is: He also alleged that the West had a centuries-long "enmity toward Islam" which led it to create a "well-thought-out scheme... to demolish the structure of Muslim society." At the same time, "the Western world realizes that Western civilization is unable to present any healthy values for the guidance of mankind," and "the American people blush" with shame when confronted with the "immoralities" and "vulgarity" of their own country in comparison with the superiority of Islam's "logic, beauty, humanity and happiness".  Olivier Roy has described Qutb's attitude as one of "radical contempt and hatred" for the West, and complains that the propensity of Muslims like Qutb to blame problems on outside conspiracies "is currently paralyzing Muslim political thought. For to say that every failure is the devil's work is the same as asking God, or the devil himself (which is to say these days the Americans), to solve one's problems."

"Milestones" and Islam.

Other questions involve Qutb's ideas of sharia and freedom.

Sharia.

Qutb's ideology is premised upon sharia law and its application to every aspect of life. He does not explain or illustrate how any specific statutes are better or different from man-made law — evidence to support assertions in "Ma'alim fi al-Tariq" is limited to scriptural quotations — but does assure readers sharia is "without doubt... perfect in the highest degree", and will free humanity from servitude to other men.  Some, such as scholar Khaled Abou El Fadl, have questioned Qutb's understanding of sharia, and his assumptions that sharia is not only perfect but accessible to mortals in its completeness.  Qutb's assertion that the Qur'an should be approached as a source of "instruction for obedience and action" (following the fundamentalist prescription that "the Quran is our law,"

Freedom.

Qutb explains that sharia law needs no human authorities for citizens to obey and thus frees humanity from "servitude" because  This uniquely free socioeconomic system not only frees Muslims to be true Muslims, but explains why offensive jihad to "establish the sovereignty of God", i.e. true Islam, "throughout the world" would not constitute aggression towards non-Muslims but rather "a movement to wipe out tyranny" and to introduce "true freedom" to mankind, since even the most contented and patriotic non-Muslim living in a non-Muslim state is still obeying a human authority. These non-Muslims must be freed by Islamic jihad, just as the non-Muslims of Persia or Byzantium were freed by invading Muslim armies in the 7th Century AD.  Qutb's political philosophy has been described as an attempt to instantiate a complex and multilayer eschatological vision, partly grounded in the counter-hegemonic re-articulation of the traditional ideal of academic jargon.

Ma'alim fi al-Tariq, also Ma'alim fi'l-tareeq, () or Milestones, first published in 1964, is a short book by Egyptian Islamist author Sayyid Qutb in which he lays out a plan and makes a call to action to re-create the Muslim world on strictly Quranic grounds, casting off what Qutb calls "Jahiliyyah".

《路标》是埃及伊斯兰主义作家赛义德·库特布于1964年出版的书籍,他在该书中制定计划,呼吁严格按照《古兰经》重新创造穆斯林世界,摆脱库特布所说的“蒙昧时代”。《路标》一书被称为“上个世纪下半叶最有影响力的阿拉伯语著作之一”,是库特布最知名也是最有影响力的著作,被称为是“库特布主义”意识形态的宣言。有评论者称赞《路标》是一部由英雄和烈士创作的有开拓性和启发性的作品,也有评论者指责这本书是无理要求、自怜、妄想和催生伊斯兰恐怖主义仇恨的典型。