| Catalog Connector examples |
| OpenLayers integration through OpenSearch |
| Sample viewer |
| Request GetCapabilities |
| Request GetCapabilities JSON |
| Request=GetCapabilities&outputFormat=JSON& |
| Request GetCapabilities XML |
| Request=GetCapabilities&outputFormat=XML& |
| Request GetRecords |
| Request to one catalogue and JSON response: |
| Request=GetRecords&any=Hidro&bbox=&description=&organization=&outputFormat=JSON&subject=&title=&catalogues=eWater& |
| Request to several catalogues and JSON response: |
| Request=GetRecords&any=Hidro&bbox=&description=&organization=&outputFormat=JSON&subject=&title=&catalogues=eWater,idee& |
| Request to several catalogues using BBOX filter and JSON response: |
| Request=GetRecords&any=&bbox=-4.733887,39.34082,-2.097168,41.538086&description=&organization=&outputFormat=JSON&subject=&title=&catalogues=eWater,idee& |
| |
| Request to one catalogue and XML response: |
| Request=GetRecords&any=Hidro&bbox=&description=&organization=&outputFormat=XML&subject=&title=&catalogues=eWater& |
| Request to several catalogues and XML response: |
| Request=GetRecords&any=Hidro&bbox=&description=&organization=&outputFormat=XML&subject=&title=&catalogues=eWater,idee& |
| Request to several catalogues using BBOX filter and XML response: |
| Request=GetRecords&any=&bbox=-4.733887,39.34082,-2.097168,41.538086&description=&organization=&outputFormat=XML&subject=&title=&catalogues=eWater,idee& |


| DOSE: T+ 0:00 |
1.5 hits |
oral |
LSD |
(blotter / tab) |
| T+ 2:15 |
1 tablet |
oral |
MDMA |
(pill / tablet) |
My experience with psycho-active drugs is very limited, restricted until recently to MDMA. Some trusted sources offered positive feedback regarding LSD, so I decided to try some about a week ago. The experience (and apparently, the quality of the dosage) was very mild, so it seemed that the emotional effect of MDMA mixed with the hallucinogenic effect of the LSD would make for quite an experience.
I decided I wanted to be alone for this, because I did not want the distraction of another person involved. I stocked up on fluids and food, so I wouldn't need to leave the house. I notified a couple of friends, who would be close at hand if needed. I created a comfortable nesting environment in my home theater room, viewing chair in front of a 59' television, beverages, remote controls and phone within immediate reach. I turned down the AC to get the room to about 74 degrees F.
I was definitely *excited* about seeing what this was like. My experiences with MDMA had been consistently positive, and my one prior experience with acid, while mild, was also quite positive.
I injested the acid at about 5pm. I knew it would take several hours to generate it's peak effects, so I waited patiently, distracting myself with television and some reading. At about 7:15, I took a dose of MDMA (a speckled fish-mark, stacked, which I'd had before to very positive effect.) I waited for that to kick in while watching an episode of Star Trek: Voyager -- which I think had a fair amount to do with my later experience.
At about 8, I started to experience the early speed effects I usually get with X. I fired up my PC, which I'd earlier connected to the big screen. I had the sound connected to the home theater (5.1 Bang & Olufsen -- yeah!). I put on a collection of Juno Reactor, Orbital, Crystal Method and FSOL MP3s through WinAmp, and turned on the G-Force visualization program in full screen. All the lights in the room were off, and the screen began cascading in the color rush produced by WinAmp visual programs. I sat in the center of the music, subwoofer pounding my chair, in front of a screen with a wild, moving array of light and color.
Up to this point, I'd had very mild visual effects from the acid. I hadn't noticed visual alterations on acid before to any great extent -- particularly when watching a limited medium such as television. The color splashes from the screen were interesting, but the effect was still isolated. It was a TV screen, and I knew that without hesitation.
Even without psycho-actives, Juno Reactor plus the G-Force visualization program is *very* entrancing. So I had no trouble remaining beneath my blanket and watching what was happening before me. After about 2 songs, the elation effect of the X started to kick in and that's when the subjective experience got interesting.
 The movement on the screen became the only perception of my existence, making me feel like I was *in* the swirls of color on the screen. This effect is very hard to describe, but imagine simply standing in the midst of an environment that looks like a Star Trek special effect, and you'll be fairly close. Or perhaps the worm-hole travel concept from the movie Contact. I was blasted back by movement while remaining very still.
The physical effects are similarly difficult to describe. I made a very specific effort to remain aware of what my body was doing, but even so, it was difficult to pay attention. I knew I was trembling from the body temperature adjustments of the drugs. I also felt that I was extremely still, even though I was rolling my head back and forth. The movement of my head was somewhat hypnotic, amplifying the immersive effect of the screen visuals, since it felt as though I was still looking to the left and the right as I watched the screen.
Every few minutes, I would tear my eyes away from the screen and look at some other part of the room, to reground myself. I'd see the door to the hallway and the door to the bath room. I'd look down and see my hands as normal silhouettes against the bath of light from the screen. I'd see the speakers and the edge of the television, and I'd remember that I was in my own home, that it was Sunday night, and that I was candyflipping in my theater room.
I think this part of the experience was important for me mentally, to avoid the dangers of going through the experience alone. Had I had a guide, I suspect I could have readily lost myself in the screen for hours -- but without accompanyment, I needed to maintain enough of a grip on my situation to avoid ignoring possible danger signals from my body.
It was in these moments that I remembered to remain hydrated, to relieve myself, and to confirm that the phone was in reach.
Outside of that, the subjective experience itself was *AMAZING*. When the color phasings on the screen would shift, my mind made incredible environments out of it. Blue hues blended into flourescent liquids, and reds poured like fiery plasma across my awareness. Tunnels streamed forth. Cascading star fields crossed my vision, shifting planes, spirals and swirls. After a while, I realized I could add my own effects, simply by thinking of them. I'd ponder the idea of a swirl becoming a naked woman, and there it would be (picture the intro sequences to James Bond films). I'd think that a color pattern flying across a plane looked like newspaper on a printing press, and suddenly, that's what it was. The pulsing of the music set the experience against a tempo that was perfect for travel. And as far as I was concerned, the experience put me in another galaxy.
I phoned one of those friends in the middle of it all -- to let him know I was okay. 'There is a God,' I said to him, 'and we're having a conversation right now.' He laughed and asked 'so you're having a good time?' 'Oh yes,' I replied, 'I'm travelling all through the universe.'
I also found that if I chose to imagine a real life setting, I had no problems conjuring up images of perfect reality and dimension. A lover appeared before me, smiling at my journey. I found myself in my car, at the wheel of a ski boat, and with huge arcing tendrils of wings stretching beside me.
The trip lasted for about 2.5-3 hours. But I cannot say how long it *felt*. I was trying to reground myself every 2 songs or so, but I'd discover that I'd go to a place and snap myself back inside of 30 seconds, and then go somewhere else for 7 or 8 minutes without realizing. It was the nexus from Star Trek: 'Time has no meaning there. The predator has no teeth.'
At one point, I realized I'd been running my fingers through my own hair for 5 minutes! The tactile sensation was simply incredible. I ran my fingers along the arms of my chair like the skin of a lover, feeling the voltage up the length of my arms.
I had wondered why it was called a trip, and now I know without any doubt -- though I might never have left that chair, as far as I was concerned, I explored the far reaches of the galaxy. Dreams which feel like they last for hours in reality only take a few minutes -- and that's ultimately the best comparison I can offer here. I dreamt experiences lasting only a few minutes, but they seemed to be journeys of days at a time -- packing a tremendous amout of experience into a few hours.
It is important to note that throughout the entire experience, I had *NO NEGATIVE SENSATIONS WHATSOEVER*. There was no pain, no monstrous distortion, no uncontrollable imagery. I was in a known, comfortable setting with inputs that were familiar to me. Reality was a turn of the head away -- once I stopped looking at the screen, I could remember who and where I was, and what I was doing. That trip through the screen pulled at me -- I *wanted* to go where it took me, but I didn't *have* to go.
After the peak, the effects of both the drugs slid down simultaneously. This was a bit troubling -- and left me feeling antsy and indecisive. The feeling was not unfamiliar, as I've had it many times coming down off X, but it was amplified by the intensity of my earlier journey. However, this lasted only about 5 minutes. I changed my setting -- going and lying on the bed for a few minutes, then went back and watched some light pornography to divert the feeling. It worked, and I calmed and fell asleep at about midnight.
Somewhat tragically, this isn't an experience I'll get to repeat. A commitment to a friend prevents me from doing this again. But there are a few lessons I take with me about the experience...
1) Doing it alone was risky. I really don't think I would have taken the kind of trip that I did had anyone else been there, but it also forced me to maintain a closer grip on reality, to not lose myself in case there was a problem.
2) The come down is a little tricky -- it's rather anxious, and the temptation for a lot of people would probably be to take *more*. I have excellent experience in controlling that urge, so it wasn't a problem to find a path through it.
3) Environment is everything. Psycho-active drugs are incredibly subjective, and it seemed virtually everything about my experience was based on whatever I decided it to be based on. So setting and mindset are key to having a positive experience. I put myself in a familiar environment with a genuine desire to have a positive experience, and that's what happened. Had I entered with a different expectation or had I put myself in a setting I didn't know, it could have been a *very* different experience.
4) Keep an exit handy. In this case, it was the phone and the door to the room. If I needed to leave the transcental for a minute or two, and get back to the real, it was very easy for me to do. I can see why people who forget to do this become frightened into negative experiences -- had I felt like this was my *only* reality, it could have been quite overwhelming. But learning to control the trip was paramount to having a good time, and as long as I did that, it was a wonderful ride.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


Contents:
Defined in File shape.h
Slice
Public Functions
operator=
operator==
operator!=
Public Members
begin
end
stride
Public Static Attributes
END


Associate Professor and Director
Department of Plant Pathology and Microbiology
Faculty of Institute for Plant Genomics and Biotechnology
Texas A&M Energy Institute
Graduate Program in Biotechnology
Director, Synthetic and Systems Biology Innovation Hub (SSBiH)
CV Google scholarSungrant Fellow, National Renewable Energy Lab, 2008
Ph.D., University of Tennessee, 2007
M.S., University of Arizona, 2001
B.S., Fudan University, 1997
Ugur Uzuner, Ph.D 2008-2013, Now: Assistant Professor at Karadeniz Technical University, Turkey
Yixiang Zhang, Research Associate 2008-2014, Now: Research Associate at Indiana University Bloomington
Xin Zhou, Bioinformatician 2008-2009, Now: Group leader, St. Jude Hospital
Weibing Shi, Postdoc 2009-2011, Now: Principal Scientist at Roche Sequencing Solutions, U.S.A.
Ryan Syrenne, Graduate Student 2010-2016
Yaling Song, Postdoc 2010-2012
Sumei Jin, Visiting Scholar 2011-2012, Now: Associate Professor at Noreast Forestry University
Su Sun, Visiting Ph.D Student 2011-2015, Now: Ph.D student at Huazhong University of Science and Technology, China
Hong Ma, Postdoc 2012-2016, Now: Postdoc Research Associate, North Carolina State University
Yongkyoung Kim, Postdoc 2012-2014
Lu Lin, Postdoc 2012-2014, Now: Associate Professor at Zhejiang University, China
Zhide Cheng, Visiting Scholar 2012-2013, Now: Researcher and group leader at Jiangsu Academy of Agricultural Sciences
Yan Shi, Postdoc 2014-2016, Now: Lecturer at Central South University, China
Huaxi Yi, Visiting Scholar 2014-2015, Now: Associate Professor at Harbin Institue of Technology
Bingfeng Liu, Visiting Scholar 2014-2015, Now: Associate Professor at Harbin Institue of Technology
Wei Liu, Visiting Scholar 2015, Now: Associate Professor at Tonghua Normal University
Hongbo Yu, Visiting Scholar 2015-2016, Now: Associate Professor at Huazhong University of Science and Technology, China


Major League Hacking (MLH) is the official student hackathon league. Each year, we power over 200 weekend-long invention competitions that inspire innovation, cultivate communities and teach computer science skills to more than 65,000 students around the world. MLH is an engaged and passionate maker community, consisting of the next generation of technology leaders and entrepreneurs.MLH has been a community first, mission driven organization from the beginning. We measure our success by the number of hackers we empower, and we want to keep it that way. That’s why we made it official and became a Certified B Corporation in 2016. B Corps are for-profit enterprises that are legally required to consider the impact of their decisions on their community, not just their shareholders.


MERCURY RISING
Reviewed by Harvey Karten, Ph.D. Universal Pictures/Imagine Entertainment Director: Harold Becker Writer: Lawrence Konner, Ryne Douglas Pearson (novel), Mark Rosenthal Cast: Bruce Willis, Alec Baldwin, Miko Hughes, Chi McBride, Kim Dickens
In David Lean's 1957 blockbuster "The Bridge on the River Kwai," a British colonel played by Alec Guinness builds a bridge while held as POW by the Japanese in World War II. The bridge will greatly help the Japanese war effort by enabling them to transport supplies and is therefore a prime target of Japan's enemies. When fellow prisoners played by William Holden and Jack Hawkins plot to destroy the overpass, Guinness perversely seeks to preserve it. The moral: if you create something and take great pride in your workmanship, you will do anything, however self-destructive, to keep it vital.
Like Guinness, another Alec (Baldwin) has created a masterwork--a supercode for the United States National Security Agency, a cryptogram considered so impenetrable that he is praised mightily by his superiors and is a man on his way up. When a mere nine-year-old kid cracks the code, an autistic boy no less, the obvious thing for its creator to do would be to announce its defeat and scrap the failure. But its architect has become so bound up with his innovation that he will not throw in the towel. Instead, he resolves to eliminate the "enemy" who has thwarted him and all individuals connected with that betrayer.
This is not to say that "Mercury Rising" approaches the caliber of "The Bridge on the River Kwai" however similar the theme. David Lean's expansive drama is crammed with the tension created by a psychological battle of wills, exploits the stirring music of the Colonel Bogey march, and is conclusively more believable given the fact that the lines were clearly drawn between the opposing camps. "Mercury Rising" is involving enough as are all slickly-made thrillers with top- drawer performers, but ultimately it's a by-the-numbers paranoid thriller highlighting the struggle between opposing forces within the U.S. government.
Released at about the time of two other "disease" movies-- "Niagara, Niagara" (La Tourette's Syndrome) and "Go Now" (Muscular Sclerosis), "Mercury Rising" focuses on an autistic nine-year-old, Simon (Mike Hughes), a diehard fan of crossword and other puzzles, who inadvertently cracks the supercode by intuiting a phone number buried on a page of cryptography. When two middle-level workers in the National Security Agency report their taped conversation with the kid, the code's designer, Nicholas Kudrow (Alec Baldwin), orders his hit men to "erase the tape." They catch his drift. The rest of the story combines buddy genre with road movie as Kudrow and his lackeys go after young Simon, who is protected by FBI special agent Art Jeffries (Bruce Willis) and Jeffries' one pal in the bureau, Tommy B. Jordan (Chi McBride).
Whether or not the viewers become mesmerized by an ambulance chase, a dramatic rescue of the wandering kid on railroad tracks, building roofs and dangerous Chicago sidewalks, they will absorb some information about autism. As played out by young Miko Hughes who spent considerable time studying the antics of youngsters afflicted with the severe emotional disturbance, the disorder is characterized by an inability to connect emotionally or even to look other people in the eye, a repulsion of physical contact, and a craving for routine. When Simon comes home from his special school, for example, he automatically heads for the jar of Swiss Miss cocoa and, when preparing to drink it, repeats by rote his mother's advice to sip the hot liquid slowly.  He displays one trait which is not uncommon among people with his ailment: he is a savant--in his case one who can automatically decode the most intricate of cryptograms.
Harold Becker, who directs the action, takes care to show why agent Jeffries takes such an interest in the boy: when acting as an undercover agent caught in a standoff between bank robbers and the FBI, he begs the authorities to give him a few more minutes to effect a surrender of the gunmen.  Other aspects of the story are less than believable, principally the naming by the NSA of one particular man whom the code is designed to protect--one Rashid Halabi, an agent placed by the U.S. Government among Saddam Hussein's Republican Guard. Would the very careful Kudrow have gratuitously given out this specific information? Yet another scene which is hard to swallow deals with Stacey (Kim Dickens) who, having done a favor for a complete stranger (Jeffries) by watching the kid for a few minutes in a downtown shop, opens the door to him at 2 a.m. wearing only a flimsy slip--even while thinking that the man's FBI identification is a $5 certificate that anyone could forge. Stacey's role, we might add, is a bit of an "in" joke. In her last movie, "The Zero Effect," she assumes the role of Gloria Sullivan who lines up for a physical therapy session with a suitcase by her side. A private detective played by Bill Pullman looks at the suitcase and determines her profession-- a paramedic. In "Mercury Rising," Jeffries and Stacey meet when the former "accidentally" trips over a very similar suitcase in order to arrange an introduction.
Mike Hughes joins the ranks of superior child actors, having mastered the tics and gestures of autism, performing his role with the prescience and expertise of a talented young man indeed. Alec Baldwin is underutilized: sporting his signature pompadour and exuding his usual refinement he turns in a conscientious performance as a guy who is intoxicated with his success and determined to let no one stand in his way. In what is now the standard practice of Hollywood pictures, he is reviled for his wealth: Willis has a ball knocking over an entire section of the precious wines from Baldwin's well-stocked cellar.
The movie does not shirk from the extreme violence that audiences have come to expect from the genre, but the car chases, chopper rescues, U.S. government malcontents and adorable kids are mixed together with no trace of an original point of view. Rated R. Running time: 130 minutes. (C) Harvey Karten 1998
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


This is a NON-AMP page that embeds a story below:
A local’s guide to what to eat and do in New York City
Testing paywall story
A local’s guide to what to eat and do in Miami
A local’s guide to what to eat and do in Mexico City
A local’s guide to what to eat and do in Rome


SASS Starter - SCSS for SMACSS
Starter code for SASS based on Scalar and Modular Architecture for CSS (SMACSS). SMACSS (pronounced “smacks”) is more style guide than rigid framework. This allows for more customization to the structure as we see fit.
Visit this link for documentation.
node
and npm
, yarn
(recommended) if not installed.git clone git@github.com:sshikhrakar/Sass-Starter.git
(using SSH - recommended) or git clone https://github.com/sshikhrakar/Sass-Starter.git
(using HTTPS) or download the zip.npm install
or yarn install
.npm run start
or yarn start
to start the server. Your default browser will open automatically and the server will be hosted at http://localhost:8080
.For building your minified css code and optimized images run
npm run build
oryarn build
. All files will be created atdist/
folder.
Include or remove bootstrap at
utilities/_manifest.scss
.
1. Node/NPM
2. Yarn (recommended/optional)
Please read the CONTRIBUTING guidelines for details on how to contribute. Also read the Code of Conduct here.
See also the list of contributors who participated in this project.
Report a bug or request a new feature by opening an issue.
Guidelines for bug report at CONTRIBUTING.md.
This project is licensed under the MIT License - see the LICENSE.md file for details.
This project uses awesome work of other projects: * normalize.css * bootstrap * SMACSS


Hashes and arrays are great tools for organizing our data, but what's far more powerful is the ability to manipulate that data. This can of course be done with the #each method, but Ruby also includes a module called Enumerable that contains a wide variety of other useful methods.
One widely used method is the #map method. #map returns a new array that contains the result of running the block once for every element.
[1, 2, 3].map { |n| n * n } #=> [1, 4, 9]
This differs from #each in that it allows us to create a new array as opposed to simply doing something with the data contained in the original array.


| name | value | description |
| httpfs.buffer.size | 4096 |
The buffer size used by a read/write request when streaming data from/to
HDFS.
|
| httpfs.services |
org.apache.hadoop.lib.service.instrumentation.InstrumentationService,
org.apache.hadoop.lib.service.scheduler.SchedulerService,
org.apache.hadoop.lib.service.security.GroupsService,
org.apache.hadoop.lib.service.security.ProxyUserService,
org.apache.hadoop.lib.service.security.DelegationTokenManagerService,
org.apache.hadoop.lib.service.hadoop.FileSystemAccessService
|
Services used by the httpfs server.
|
| kerberos.realm | LOCALHOST |
Kerberos realm, used only if Kerberos authentication is used between
the clients and httpfs or between HttpFS and HDFS.
This property is only used to resolve other properties within this
configuration file.
|
| httpfs.hostname | ${httpfs.http.hostname} |
Property used to synthetize the HTTP Kerberos principal used by httpfs.
This property is only used to resolve other properties within this
configuration file.
|
| httpfs.authentication.signature.secret.file | ${httpfs.config.dir}/httpfs-signature.secret |
File containing the secret to sign HttpFS hadoop-auth cookies.
This file should be readable only by the system user running HttpFS service.
If multiple HttpFS servers are used in a load-balancer/round-robin fashion,
they should share the secret file.
|
| httpfs.authentication.type | simple |
Defines the authentication mechanism used by httpfs for its HTTP clients.
Valid values are 'simple' or 'kerberos'.
If using 'simple' HTTP clients must specify the username with the
'user.name' query string parameter.
If using 'kerberos' HTTP clients must use HTTP SPNEGO or delegation tokens.
|
| httpfs.authentication.kerberos.principal |<EMAIL_ADDRESS>|
The HTTP Kerberos principal used by HttpFS in the HTTP endpoint.
The HTTP Kerberos principal MUST start with 'HTTP/' per Kerberos
HTTP SPNEGO specification.
|
| httpfs.authentication.kerberos.keytab | ${user.home}/httpfs.keytab |
The Kerberos keytab file with the credentials for the
HTTP Kerberos principal used by httpfs in the HTTP endpoint.
|
| httpfs.proxyuser.#USER#.hosts | * |
List of hosts the '#USER#' user is allowed to perform 'doAs'
operations.
The '#USER#' must be replaced with the username o the user who is
allowed to perform 'doAs' operations.
The value can be the '*' wildcard or a list of hostnames.
For multiple users copy this property and replace the user name
in the property name.
|
| httpfs.proxyuser.#USER#.groups | * |
List of groups the '#USER#' user is allowed to impersonate users
from to perform 'doAs' operations.
The '#USER#' must be replaced with the username o the user who is
allowed to perform 'doAs' operations.
The value can be the '*' wildcard or a list of groups.
For multiple users copy this property and replace the user name
in the property name.
|
| httpfs.delegation.token.manager.update.interval | 86400 |
HttpFS delegation token update interval, default 1 day, in seconds.
|
| httpfs.delegation.token.manager.max.lifetime | 604800 |
HttpFS delegation token maximum lifetime, default 7 days, in seconds
|
| httpfs.delegation.token.manager.renewal.interval | 86400 |
HttpFS delegation token update interval, default 1 day, in seconds.
|
| httpfs.hadoop.authentication.type | simple |
Defines the authentication mechanism used by httpfs to connect to
the HDFS Namenode.
Valid values are 'simple' and 'kerberos'.
|
| httpfs.hadoop.authentication.kerberos.keytab | ${user.home}/httpfs.keytab |
The Kerberos keytab file with the credentials for the
Kerberos principal used by httpfs to connect to the HDFS Namenode.
|
| httpfs.hadoop.authentication.kerberos.principal |<EMAIL_ADDRESS>|
The Kerberos principal used by httpfs to connect to the HDFS Namenode.
|
| httpfs.hadoop.filesystem.cache.purge.frequency | 60 |
Frequency, in seconds, for the idle filesystem purging daemon runs.
|
| httpfs.hadoop.filesystem.cache.purge.timeout | 60 |
Timeout, in seconds, for an idle filesystem to be purged.
|
| httpfs.user.provider.user.pattern | ^[A-Za-z_][A-Za-z0-9._-]*[$]?$ |
Valid pattern for user and group names, it must be a valid java regex.
|


NFL Insider Announces Punishment For Steelers QB Mason Rudolph
by Andrew McCartyEarlier this morning, the NFL announced suspensions for players involved in a fight during the final seconds of Thursday night’s game between the Cleveland Browns and Pittsburgh Steelers.
Myles Garrett received an indefinite suspension – for at least the rest of the 2019 season, including playoffs. The suspension comes as a result of Garrett using Mason Rudolph’s helmet as a weapon against the Steelers quarterback.
Rudolph did not receive a suspension for his part in the altercation. The NFL announced “additional discipline for other players will be forthcoming.”
It didn’t take long for that punishment to come out.
According to a report from NFL insider Tom Pelissero, the Steelers quarterback will receive a fine for his actions on the field.
The NFL will fine Steelers QB Mason Rudolph for his role in last night’s brawl, I’m told,” Pelissero reported.
The amount of money remains to be seen, but Rudolph won’t get away unpunished. He wasn’t the only member of the Steelers to be punished for his actions Thursday night.
Pittsburgh offensive lineman Maurkice Pouncey received a three-game suspension for punching and kicking Garrett after he hit Rudolph with the helmet.
Pittsburgh and Cleveland won’t have to wait long to see each other again. The two teams face off in Pittsburgh on December 1.