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ETSU hosting variety of arts and other events in December

CHARLOTTE, N.C. — Front Row Motorsports, one of two teams suing NASCAR in federal court, accused the stock car series Thursday of rejecting the planned purchase of a valuable charter unless the lawsuit was dropped. Front Row made the claim in a court filing and said it involved its proposed purchase of the charter from Stewart-Haas Racing. Front Row said the series would only approve it if Front Row and 23XI Racing dropped their court case. "Specifically, NASCAR informed us that it would not approve the (charter) transfer unless we agreed to drop our current antitrust lawsuit against them," Jerry Freeze, general manager of Front Row, said in an affidavit filed in the U.S. District Court of Western North Carolina. The two teams in September refused to sign NASCAR's "take-it-or-leave-it" final offer on a new revenue sharing agreement. All other 13 teams signed the deal. Front Row and 23XI balked and are now in court. 23XI co-owner Michael Jordan has said he took the fight to court on behalf of all teams competing in the top motorsports series in the United States. NASCAR has argued that the two teams simply do not like the terms of the final charter agreement and asked for the lawsuit be dismissed. Earlier this week, the suit was transferred to a different judge than the one who heard the first round of arguments and ruled against the two teams in their request for a temporary injunction to be recognized in 2025 as chartered teams as the case proceeds. The latest filing is heavily redacted as it lays out alleged retaliatory actions by NASCAR the teams say have caused irreparable harm. Both Front Row and 23XI want to expand from two full-time cars to three, and have agreements with SHR to purchase one charter each as SHR goes from four cars to one for 2025. The teams can still compete next season but would have to do so as "open" teams that don't have the same protections or financial gains that come from holding a charter. Freeze claimed in the affidavit that Front Row signed a purchase agreement with SHR in April and NASCAR President Steve Phelps told Freeze in September the deal had been approved. But when Front Row submitted the paperwork last month, NASCAR began asking for additional information. A Dec. 4 request from NASCAR was "primarily related to our ongoing lawsuit with NASCAR," Freeze said. "NASCAR informed us on December 5, 2024, that it objected to the transfer and would not approve it, in contrast to the previous oral approval for the transfer confirmed by Phelps before we filed the lawsuit," Freeze said. "NASCAR made it clear that the reason it was now changing course and objecting to the transfer is because NASCAR is insisting that we drop the lawsuit and antitrust claims against it as a condition of being approved." A second affidavit from Steve Lauletta, the president of 23XI Racing, claims NASCAR accused 23XI and Front Row of manufacturing "new circumstances" in a renewed motion for an injunction and of a "coordinated effort behind the scenes." "This is completely false," Lauletta said. Front Row is owned by businessman Bob Jenkins, while 23XI is owned by retired NBA Hall of Famer Jordan, three-time Daytona 500 winner Denny Hamlin and longtime Jordan adviser Curtis Polk. NASCAR had been operating with 36 chartered teams and four open spots since the charter agreement began in 2016. NASCAR now says it will move forward in 2025 with 32 chartered teams and eight open spots, with offers on charters for Front Row and 23XI rescinded and the SHR charters in limbo. The teams contend they must be chartered under some of their contractual agreements with current sponsors and drivers, and competing next year as open teams will cause significant losses. "23XI exists to compete at the highest level of stock car racing, striving to become the best team it can be. But that ambition can only be pursued within NASCAR, which has monopolized the market as the sole top-tier circuit for stock car racing," Lauletta said. "Our efforts to expand – purchasing more cars and increasing our presence on the track – are integral to achieving this goal. "It is not hypocritical to operate within the only system available while striving for excellence and contending for championships," he continued. "It is a necessity because NASCAR's monopoly leaves 23XI no alternative circuit, no different terms, and no other viable avenue to compete at this level." Get local news delivered to your inbox!Global Medical Tubing Market Set For 12.2% Growth, Reaching $21.03 Billion By 2028

Trump taps retired general for key Ukraine conflict roleSouthampton’s highly-rated talent Tyler Dibling is on the radar of Tottenham Ange Postecoglou is facing the heat following Tottenham Hotspur’s poor run of performances and results of late. The North London side have won just once in their last seven games across all competitions, while losing four to Bournemouth, Ipswich Town, Chelsea and Galatasaray . Sunday’s 4-3 home defeat to cross-town rivals Chelsea left them in the bottom half of the Premier League table—seven points behind fourth-place Manchester City, who they battered 4-0 at the Etihad Stadium a couple of weeks ago. This abysmal run of form has raised doubts about Ange Postecoglou’s future at the club, with reports suggesting his position could be under scrutiny. However, for now, the Greek-Aussie tactician appears to have the club’s backing, with the January transfer window on the horizon. Meetings are supposedly taking place behind the scenes at the Hotspur Way as the club chiefs look to fix the ongoing issues. According to an exclusive report from CaughtOffside , Tottenham scouts have been monitoring Southampton prodigy Tyler Dibling ahead of a potential move. Tyler Dibling has emerged as one of the standout performers for Southampton this season, with manager Russel Martin putting his trust in him and the young wide playmaker responding to the trust with eye-catching performances. The 18-year-old is enjoying his breakout campaign in the senior team, starting nine of 14 Premier League games thus far. Technically strong and versatile, the Exeter-born talent can play out wide and as an attacking midfielder. He has mostly operated as a right-sided midfielder in Martin’s 5-4-1 system in the Premier League, providing great joy to the fans with his dribbling, flair, work rate and running power. However, Spurs aren’t the only club watching him; the aforementioned report adds Manchester United, Chelsea, Aston Villa, Newcastle United and West Ham are all keeping tabs on Dibling’s progress at St Mary’s Stadium. The Saints are hellbent they don’t want to sell their academy star despite their woeful position in the top flight. For now, the South Coast club faces a fight to keep hold of Dibling, who is currently valued at €25m . it looks highly improbable they will entertain bids for Dibling midway through the campaign, while they continue battling a potential relegation. The asking price for the England youth international should be perfectly affordable for a club like Tottenham, who have focused on recruiting highly regarded talents with massive potential in recent transfer windows. While any move away from Southampton is likely to take place in the summer, the Lilywhites must not hesitate to test the basement club’s resolve with a cheeky bid in January. This article first appeared on To The Lane And Back and was syndicated with permission.Srinagar, Nov 21: Bharti Airtel has launched an innovative AI-powered spam detection system that has significantly reduced unwanted communications for customers in Jammu and Kashmir. The solution has identified 128 million potential spam calls and blocked 8 million spam SMS messages within 54 days of launch, providing free, automatic protection for all Airtel mobile customers. Adarsh Verma, Chief Operating Officer for Jammu & Kashmir, emphasized the system’s importance in combating digital threats. Developed in-house by Airtel’s data scientists, the proprietary algorithm analyzes caller usage patterns, call frequencies, and durations to identify suspicious communications. The technological solution features a dual-layered protection system operating across network and IT layers, processing 1.5 billion messages and 2.5 billion calls in just two milliseconds. Its capabilities include a centralized database of blacklisted URLs, real-time SMS link scanning, and anomaly detection like frequent IMEI changes. Serving Airtel’s 6.1 million customers in the region, the AI-driven system offers comprehensive protection against evolving spam and fraud threats, representing a significant advancement in telecommunications security. The solution automatically shields customers without requiring additional downloads or service requests, demonstrating Airtel’s commitment to enhancing digital safety through advanced technological innovation.

Verisign's EVP Danny McPherson sells $402,572 in stock

Donald Trump savaged Vice President Kamala Harris’ failed White House bid in his Time “Person of the Year” interview — saying her biggest mistake was “taking the assignment” at all. The president-elect — who was given the magazine’s lofty title on Thursday — said Harris’ campaign was doomed from the start “because you have to know what you’re good at.” Trump said what he believes also cost her the election was her failure to reach a wider audience on the campaign trail by speaking to streamers and podcasters — such as Joe Rogan — as he did. “When she wouldn’t talk to anybody, it shone a light on her,” Trump said. “You know, she didn’t do anything. And people said, ‘Is there something wrong with her?’ Why would they? I mean, I’m doing this interview with you. I did interviews with, if I had the time, anybody that would ask, I’d do interviews,” he said. “I think the Joe Rogan interview, you know, went on for almost three and a half hours.” Trump was declared the magazine’s 2024 Person of the Year after his stunning political comeback — which the magazine described as “unparalleled in American history.” Originally published as Time ‘Person of the Year’ Donald Trump gives savage three-word takedown of Kamala Harris’ failed presidential campaignNo, Voice of America is not a new government organization

Team claims NASCAR rescinded approval to buy charter

Former UNIZIK VC Odoh sues FUGUS over denial of professorship, employment statusNEW YORK (AP) — Angelina Jolie never expected to hit all the notes. But finding the breath of Maria Callas was enough to bring things out of Jolie that she didn’t even know were in her. “All of us, we really don’t realize where things land in our body over a lifetime of different experiences and where we hold it to protect ourselves,” Jolie said in a recent interview. “We hold it in our stomachs. We hold it in our chest. We breathe from a different place when we’re nervous or we’re sad. “The first few weeks were the hardest because my body had to open and I had to breathe again,” she adds. “And that was a discovery of how much I wasn’t.” In Pablo Larraín’s “Maria,” which Netflix released in theaters Wednesday before it begins streaming on Dec. 11, Jolie gives, if not the performance of her career, then certainly of her last decade. Beginning with 2010’s “In the Land of Blood and Honey,” Jolie has spent recent years directing films while prioritizing raising her six children. “So my choices for quite a few years were whatever was smart financially and short. I worked very little the last eight years,” says Jolie. “And I was kind of drained. I couldn’t for a while.” But her youngest kids are now 16. And for the first time in years, Jolie is back in the spotlight, in full movie-star mode. Her commanding performance in “Maria” seems assured of bringing Jolie her third Oscar nomination. (She won supporting actress in 2000 for “Girl, Interrupted.”) For an actress whose filmography might lack a signature movie, “Maria” may be Jolie's defining role. Jolie's oldest children, Maddox and Pax, worked on the set of the film. There, they saw a version of their mother they hadn't seen before. “They had certainly seen me sad in my life. But I don’t cry in front of my children like that,” Jolie says of the emotion Callas dredged up in her. “That was a moment in realizing they were going to be with me, side by side, in this process of really understanding the depth of some of the pain I carry.” Jolie, who met a reporter earlier this fall at the Carlyle Hotel, didn't speak in any detail of that pain. But it was hard not to sense some it had to do with her lengthy and ongoing divorce from Brad Pitt, with whom she had six children. Just prior to meeting, a judge allowed Pitt’s remaining claim against Jolie, over the French winery Château Miraval, to proceed. On Monday, a judge ruled that Pitt must disclose documents Jolie’s legal team have sought that they allege include “communications concerning abuse.” Pitt has denied ever being abusive. The result of the U.S. presidential election was also just days old, though Jolie — special envoy for the United Nations Refugee Agency from 2012 to 2022 – wasn’t inclined to talk politics. Asked about Donald Trump’s win , she responded, “Global storytelling is essential,” before adding: “That’s what I’m focusing on. Listening. Listening to the voices of people in my country and around the world.” Balancing such things — reports concerning her private life, questions that accompany someone of her fame — is a big reason why Jolie is so suited to the part of Callas. The film takes place during the American-born soprano’s final days. (She died of a heart attack at 53 in 1977.) Spending much of her time in her grand Paris apartment, Callas hasn’t sung publicly in years; she’s lost her voice. Imprisoned by the myth she’s created, Callas is redefining herself and her voice. An instructor tells her he wants to hear “Callas, not Maria." The movie, of course, is more concerned with Maria. It’s Larrain’s third portrait of 20th century female icon, following “Jackie” (with Natalie Portman as Jacqueline Kennedy) and “Spencer” (with Kristen Stewart as Princess Diana). As Callas, Jolie is wonderfully regal — a self-possessed diva who deliciously, in lines penned by screenwriter Steven Knight, spouts lines like: “I took liberties all my life and the world took liberties with me.” Asked if she identified with that line, Jolie answered, “Yeah, yeah.” Then she took a long pause. “I’m sure people will read a lot into this and there’s probably a lot I could say but don’t want to feed into,” Jolie eventually continues. “I know she was a public person because she loved her work. And I’m a public person because I love my work, not because I like being public. I think some people are more comfortable with a public life, and I’ve never been fully comfortable with it.” When Larraín first approached Jolie about the role, he screened “Spencer” for her. That film, like “Jackie” and “Maria,” eschews a biopic approach to instead intimately focus on a specific moment of crisis. Larraín was convinced Jolie was meant for the role. “I felt she could have that magnetism,” Larraín says. “The enigmatic diva that’s come to a point in her life where she has to take control of her life again. But the weight of her experience, of her music, of her singing, everything, is on her back. And she carries that. It’s someone who’s already loaded with a life that’s been intense.” “There’s a loneliness that we both share,” Jolie says. “That’s not necessarily a bad thing. I think people can be alone and lonely sometimes, and that can be part of who they are.” Larraín, the Chilean filmmaker, grew up in Santiago going to the opera, and he has long yearned to bring its full power and majesty to a movie. In Callas, he heard something that transfixed him. “I hear something near perfection, but at the same time, it’s something that’s about to be destroyed,” Larraín says. “So it’s as fragile and as strong as possible. It lives in both extremes. That’s why it’s so moving. I hear a voice that’s about to be broken, but it doesn’t.” In Callas’ less perfect moments singing in the film, Larraín fuses archival recordings of Callas with Jolie’s own voice. Some mix of the two runs throughout “Maria.” “Early in the process,” Jolie says, “I discovered that you can’t fake-sing opera.” Jolie has said she never sang before, not even karaoke. But the experience has left her with a newfound appreciation of opera and its healing properties. “I wonder if it’s something you lean into as you get older,” Jolie says. “Maybe your depth of pain is bigger, your depth of loss is bigger, and that sound in opera meets that, the enormity of it.” If Larraín’s approach to “Maria” is predicated on an unknowingness, he's inclined to say something similar about his star. “Because of media and social media, some people might think that they know a lot about Angelina,” he says. “Maria, I read nine biographies of her. I saw everything. I read every interview. I made this movie. But I don’t think I would be capable of telling you who she was us. So if there’s an element in common, it’s that. They carry an enormous amount of mystery. Even if you think that you know them, you don’t.” Whether “Maria” means more acting in the future for Jolie, she's not sure. “There's not a clear map,” she says. Besides, Jolie isn't quite ready to shake Callas. “When you play a real person, you feel at some point that they become your friend,” says Jolie. “Right now, it’s still a little personal. It’s funny, I’ll be at a premiere or I’ll walk into a room and someone will start blaring her music for fun, but I have this crazy internal sense memory of dropping to my knees and crying.”

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