text:
Rapid ascent of climate change activist comes to life in I Am Greta
Nov 10, 2020 | 9:28 am
Greta Thunberg and protesters in I Am Greta.
Photo courtesy of Hulu
Many people have tried to call attention to the climate change crisis, but few have gotten more attention — especially in recent years — than Greta Thunberg. The Swedish teenager has gone from solitary climate strikes outside of Parliament in Stockholm to being internationally known in less than two years, an ascent that would be head-spinning for any young person, much less one with such an important message.
The documentary I Am Greta chronicles her journey, detailing how she's inspired people around the world, and how her speaking out has led to immense backlash, as well. The film, directed by Nathan Grossman, starts off with voice clips of people denying the existence or importance of climate change, foreshadowing the resistance that Thunberg will face over the course of the film.
Thunberg has Asperger syndrome, a disorder on the autism spectrum that can manifest itself in repetitive thoughts or behavior. The film doesn't focus on this fact, but neither does it shy away from it. Thunberg freely admits that she has gotten laser-focused on different things throughout her life, although she views her current fixation as much more than just a byproduct of her condition.
The film also shows how quickly people's lives can be changed in the social media world. An interview Thunberg gave to BBC in September 2018 was retweeted by Arnold Schwarzenegger to his more than 4 million followers, an act that essentially started her celebrity. It wasn't long before Thunberg was speaking at a UN Climate Conference, a speech that also went viral, inspiring climate marches around the world.
She would go on to meet with French president Emmanuel Macron, Pope Francis, and other world leaders who supported her mission. However, she would also receive criticism from leaders like Russian president Vladimir Putin and U.S. president Donald Trump, who echoed refrains that she was too young to be trusted or that she lacked her own ideas.
If you've never seen Thunberg speak, the effect can be bracing due to the absence of pretense. Most people would warm up a crowd with some sort of introduction, but Thunberg jumps right into the meat of her argument, often harshly calling out leaders to their faces over their lack of action on climate change.
While a veneration of Thunberg and her work in general, the film does her no favors when it comes any concrete action she is proposing. If she goes into any specifics during her speeches or meetings with world leaders, that's not reflected on screen. That unfortunately only makes it easier for her critics to call her a scold and nothing more.
What the film does succeed in doing is personalizing Thunberg. As can often be the case with viral sensations, she has been defined by her cause and not who she is in full. Grossman includes many smaller moments of Thunberg having intimate conversations with her family, goofing off, feeling overwhelmed, and more. Despite her poise when making speeches, she's not an automaton, and these scenes emphasize her humanity.
Thunberg remarks at one point that "Humanity sees nature as a bottomless bag of candy," a sentiment that's difficult to dispute. The film makes clear that few significant steps have been made toward combatting climate change, noting that the world is still not on track to meet the Paris Agreement that was signed in 2016. The message of Thunberg and I Am Greta is a grim one, but one with a shred of hope, knowing there are passionate people putting in the hard work toward change.
I Am Greta premieres exclusively on Hulu on November 13.
Cowgirl up
Favorite Texas jeweler launches new Yellow Rose collection at Fort Worth Stock Show & Rodeo
Stephanie Allmon Merry
Photo courtesy of Kendra Scott
Kendra Scott Yellow Rose
There's big beads-and-bangles news coming from a tiny house set up on the west side of the Metroplex - at the Fort Worth Stock Show & Rodeo.
Popular Texas jeweler Kendra Scott has launched a new ranch-inspired capsule collection called (what else?) Yellow Rose by Kendra Scott that'll be sold across the rodeo circuit in major Texas cities this year. But before it saddles up and rides into Houston, Austin, or San Antonio, the collection has lassoed its big reveal in Cowtown.
Visitors to the FWSSR will find the Kendra Scott tiny house pop-up shop on the Go Texas Plaza at the Richardson-Bass Building on the Stock Show grounds. It will be open through the duration of the FWSSR, which runs through February 4.
Inside the tiny house is the new 56-piece Yellow Rose collection, all inspired from time spent on Scott's family ranch, the designer says. The line was conceived with the "modern cowgirl" in mind and even includes a suite of pieces sculpted to look like Scott's beloved horse, Beau.
"Keeping innovation at the forefront, Yellow Rose by Kendra Scott spotlights the traditional designs and materials that are synonymous with the Southwest, while seamlessly blending the bright, colorful style and versatility that the brand is known for," a release says.
Highlights include a one-of-a-kind Bronze Veined Turquoise Magnesite Red Oyster in a beaded collection that is reminiscent of a Southwestern sunset, as well as heritage Kendra Scott pieces in new vintage gold and silver metals.
And, cowboys haven't been forgotten by Kendra. The Scott Bros. by Kendra Scott collection includes the popular Cade & Grey bracelets in genuine stone, like African Turquoise. Price range from $70 to $80.
While the Yellow Rose Collection is available online, a special artisan collection of artisan jewelry is available exclusively at the Texas rodeos. Every piece can be found inside the Kendra Scott Tiny Home at FWSSR.
Jewelry prices range from $60 to $298, with rodeo exclusives ranging from $98 to $5,500.
In additional to shopping for jewelry, guests can pop in the tiny house pop-up to create a one-of-a-kind hat via Kendra Scott's Color Bar with Hat Customization. Rodeo attendees can personalize GIGI PIP hats with bands, pins, feathers, and more adornments. Hats start at $112, with customization accessories ranging from $2 to $48.
Kendra Scott is also the presenting sponsor of the Bubbles & Bites Brunch Tasting at the FWSSR on Sunday, January 29. Attendees can sip sparkling wine paired with bites from nearly a dozen popular Fort Worth eateries during the brunch-time event. A few of the participating restaurants include Atico, Don Artemio, Joe T. Garcia's, and Wishbone & Flynt. The event, which will run from 11:30 am-1 pm, and tickets are $50-$65.
Scott herself will not be in attendance at the brunch, but guests will be able to shop the Yellow Rose Collection on site.
Once FWSSR wraps up, the Kendra Scott team will head to the rodeos in San Antonio and Houston to showcase the new collection to even more Texas shoppers in person. The adorable tiny house, however, will not go on the road with them.
Kendra Scott Yellow Rose Collection pieces.
rodeojewelry


text:
How Bentley stacks up to famous political mugshots
Sean Rossman
The virality of former Alabama Gov. Robert Bentley's mugshot underscores our obsession with the downfall of the powerful. Either that, or our fascination with the subtleties of the political mugshot.
Before Bentley's grinning image was released Monday, people clamored for the first photo of the freshly arrested Alabama governor, who pleaded guilty to multiple misdemeanor charges and was sentenced to a 30-day jail term and various fines.
Alabama reporters noted the absence of the mugshot when his booking information first appeared on the Montgomery County Jail's website. Once Bentley's half-smile did come online, it needed no explanation.
The word "creepy" was used on Twitter. Others compared it to the booking photo of Mr. Burns, the villainous character from The Simpsons.
Politicians are used to the grip-and-grin manner of politics and Bentley is not the first to smile in a mugshot. In 2005, former House Majority Leader Tom Delay famously gleamed in his booking photo related to charges he illegally funneled corporate money to GOP candidates running for the Texas state legislature.
Energy Secretary Rick Perry, then the governor of Texas, cracked a smirk when he was booked on felony charges of abuse of power in 2014. Former Sen. John Edwards smiled in his booking photo in 2011, when he was indicted on charges he tried to cover up a marital affair and an out-of-wedlock baby.
However, not all political scandals result in smiles at the county jail. In 2007, then-Sen. Larry Craig of Idaho looked glum after he was caught in an airport bathroom sex sting.
Here are some of the best political mugshots:
Follow Sean Rossman on Twitter: @SeanRossman

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How do i get all the weekdays and dates in a month I am trying to get all the weekdays of the selected Month along with the day like Monday or Tuesday, etc?? How is it possible? is there an inbuilt function that i do not know?
This is in C# 2.0, asp.net using VS 2005

A: I make no guarantees about leap years, daylight savings jumps, special days, Shanghai 1927, etc.
public List<DateTime> getWeekdatesandDates(int Month, int Year)
{
    List<DateTime> weekdays = new List<DateTime>();

    DateTime firstOfMonth = new DateTime(Year, Month, 1);

    DateTime currentDay = firstOfMonth;
    while (firstOfMonth.Month == currentDay.Month)
    {
        DayOfWeek dayOfWeek = currentDay.DayOfWeek;
        if (dayOfWeek != DayOfWeek.Saturday && dayOfWeek != DayOfWeek.Sunday)
            weekdays.Add(currentDay);

        currentDay = currentDay.AddDays(1);
    }

    return weekdays;
}

The resultant DateTime objects have a DayOfWeek property which you can check to see if it's Monday through Friday.

A: This should work
private List<DateTime> getWeekDayDates(int month, int year)
{
    List<DateTime> weekdays = new List<DateTime>();
    DateTime basedt = new DateTime(year, month, 1);
    while ((basedt.Month == month) && (basedt.Year == year))
    {
        if (basedt.DayOfWeek == (DayOfWeek.Monday | DayOfWeek.Tuesday | DayOfWeek.Wednesday | DayOfWeek.Thursday | DayOfWeek.Friday))
        {
            weekdays.Add(new DateTime(basedt.Year, basedt.Month, basedt.Day));
        }
        basedt = basedt.AddDays(1);
    }
    return weekdays;
}

Then you can get whatever info out of each DateTime you need.

redpajama_set_name: RedPajamaStackExchange


text:
F&B Trends: Smaller Portions, Global Flavors, Small-Batch Rum, Craft Sodas
By Lisa R. Schoolcraft, January 10, 2019
With food costs rising, chefs and event planners will have to work together to create exciting menus at just the right price.
"Cost is going up. Gas prices are going up. Delivery costs will be reflected in the prices," says Brian Stapleton, vice president of food & beverage at Aramark. "It is going to require chefs to be creative and source some things differently."
Chefs may have to turn to lesser cuts of meat and use different cooking methods or seasonings to create menus that will wow attendees, says Stapleton, who began his career as a sous chef in 1985. He's worked at hotels across the U.S., including The Carolina Inn, Siena Hotel and various The Ritz Carlton properties.
Stapleton believes this challenge will create new trends in the industry. "Moving forward, the younger generation of chefs will be challenged to use different vegetables out there, different seasonings out there. There is so much available in the marketplace. That's one of the exciting pieces to me."
Stapleton, who has also been on the IACC-Americas board of directors for two years, says creating menus for events can be an even bigger challenge—as diverse palates, budgets and goals have to be accounted for.
"When you have a greater level of communication between the client and the people doing the food, you will have a much more dynamic event," he says. "What I encourage everyone who works in my world is to sit down with the client and manage through what is available in the marketplace. What's ethnic? What's regional? What's artisanal? It's all about planning. Once you have a plan, then you focus on execution. The problem is when there is a lack of planning or organization."
The trend of smaller portions at events and restaurants—particularly as costs increase—will continue, but also be helpful, Stapleton says. "You can do a lot of food in smaller portions and offer a variety of flavors on a plate. But you must be cognizant of mouth feels. You must have different textures on the plate."
Ways to do that include using in-house pickled vegetables or using different grains like farro or black rice.
Stapleton believes the well-traveled attendees has influenced what F&B attendees see at events.
"Because they are international travelers, they are being exposed to different environments and qualities and levels of expectation," he says. "That's a huge piece of what you are managing at functions. You are not just serving someone who has been down the street. They are coming with a global viewpoint. Food in a meeting environment is huge and people look forward to the breaks and the social aspects."
Food can even be part of the meeting, Stapleton points out. It can be part of the educational piece, if there is a health aspect of the meeting. Or food can be part of a sustainability component if the meeting touches on the environment or business. "That all can be built into the menu."
When it comes to the beverage side of F&B, Stapleton believes the trend will be toward small-batch rum varieties. Distillers in America are already creating small-batch rum.
"These will be sipping beverages, not mixing beverages," he says. "Rum is going to be a player in the market. Bourbon is not going away, but I'm starting to push rum and market it and have people have a new experience."
There is also a rising non-alcoholic beverage trend. He's seen sparkling water taps, much like beer taps, becoming popular at events. The craft soda stations include add-your-own flavors, such as lemon or raspberry. "What's better than bringing your own creation back into a meeting?"
Stapleton believes educated foodies make coming up with menus for events more fun.
"It's a challenge," he says. "But you are no longer putting something on a plate that no one knows what it is. People are interested in food. It's a fun thing to talk about and socialize around and explore. You have an audience that is interested and has an educated opinion about it."


Poker frauds have become common and poker player Marcel Luske, taking a break from the table, hopes that the menace can be tackled if the poker industry adapts the unique identification system developed by his company which is specially designed to crackdown frauds taking place in the game.
In order to do this he is taking a bet which he believes would prevent frauds and offer security to the game.
Marcel, a former pro from PokerStars declared this week that Fortified-ID his new venture has developed the first personal identification card system in the world which would uniquely feature an impossible to clone finger print. As per the company website the company creates "nonClonableIDTM technology (nCID)" labels and tags that carry inimitable digital fingerprints in the user's identity cards. The cards will be authenticated by scanning the nCID tags which in turn will allow the determination of the identity of the persons by the poker platform. According to claim the compactly created identity cards will be ideal for poker registration to serving as a passport when you need to travel overseas.
According to the international chamber of commerce estimation world economy amounting to 2% is engineered on fraud and a total of $1.7 trillion on illegitimate commodities and services. This huge figure looming large over their head, industry is desperately in need of a solution and the Luske's venture appears to be satisfactory to the sector. Casinos and event holders do not want scams infiltrating their poker tables and are going to great length to thwart the attempts by intruders.
Luske believes that his new product will ideally cut down lengthy entry lines at important events such as the World Series of Poker. The card will help the organizers to process the entries quickly and even receive payments by the tournament organizers according to the former poker player.


text:
<?xml version="1.0" encoding="UTF-8"?>
<beans xmlns="http://www.springframework.org/schema/beans"
	xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
	xmlns:context="http://www.springframework.org/schema/context"
	xmlns:mvc="http://www.springframework.org/schema/mvc"
	xmlns:util="http://www.springframework.org/schema/util"
	xmlns:task="http://www.springframework.org/schema/task"
	xmlns:p="http://www.springframework.org/schema/p"
	xsi:schemaLocation="http://www.springframework.org/schema/mvc http://www.springframework.org/schema/mvc/spring-mvc-3.1.xsd
		http://www.springframework.org/schema/beans http://www.springframework.org/schema/beans/spring-beans.xsd
		http://www.springframework.org/schema/util http://www.springframework.org/schema/util/spring-util-3.1.xsd
		http://www.springframework.org/schema/task http://www.springframework.org/schema/task/spring-task-3.0.xsd
		http://www.springframework.org/schema/context http://www.springframework.org/schema/context/spring-context-3.0.xsd">

	<!-- Activate annotation configured components -->
	<mvc:annotation-driven/>
	<context:annotation-config/>
	<import resource="classpath:spring-convert.xml"/>
</beans>

redpajama_set_name: RedPajamaGithub


Fu's Subcutaneous Needle (FSN), invented by Dr. Zhonghua Fu in 1996, is an innovation for the treatment of myofascial pain and trigger points based on the research and clinical findings of Dr. D. Simons and Dr. Janet G. Travell.
Fu originally trained as a TCM doctor, completing his masters in acupuncture. While practicing and teaching traditional acupuncture in Guangzhou, he realized that several innovations were needed to improve and accelerate the acupuncture effect. Because some techniques for painful problems in the ancient HUANGDI INTERNAL CLASSIC were punctured obliquely surrounding some painful spots, Fu thought inserting horizontally is a good choice, and then FSN came into being after a number of trials.
This page was last edited on 20 March 2019, at 13:09 (UTC).


text:
Die 20. Schwimmeuropameisterschaften fanden vom 18. August bis 25. August 1991 im Athener Vorort Marousi statt und wurden von der Ligue Européenne de Natation (LEN) veranstaltet.

Die Schwimmeuropameisterschaften 1991 beinhalteten Wettbewerbe im Schwimmen, Kunst- und Turmspringen, Synchronschwimmen sowie die beiden Wasserball-Turniere. Die Wettkämpfe wurden im Athener Wassersportzentrum ausgetragen, das 2004 für die Olympischen Sommerspiele genutzt wurde.

Die Europameisterschaften im Freiwasserschwimmen wurden vom 14. bis 15. September in Italien in Terracina (Italien) ausgetragen.

Beckenschwimmen

Ergebnisse Männer

Ergebnisse Frauen

Kunst- und Turmspringen

Ergebnisse Männer

Ergebnisse Frauen

Synchronschwimmen

Wasserball

Ergebnisse Männer

Ergebnisse Frauen

Einzelnachweise

1991
Sportveranstaltung 1991
Sportveranstaltung in Marousi

redpajama_set_name: RedPajamaWikipedia


text:
How an Australian hospital is bringing clinically dead people back to life
Resurrection may no longer be the stuff of myth
L. Clarke/CORBIS
byLauren Hansen
Doctors at the Alfred Hospital in Melbourne have a knack for resurrection. Thanks to a combination of two resuscitation techniques, the Australian team has successfully revived three patients who were officially dead for between 40 and 60 minutes.
One of those patients was 39-year-old Colin Fielder, who suffered a heart attack last year. While being whisked away in the ambulance, he was asked which of the two nearby hospitals he preferred. "For some reason, I said the Alfred, which is pretty lucky because they are the only one that has it," Fielder said.
"It" is the AutoPulse, a portable CPR machine that performs constant chest compressions that essentially keep the heart beating. What makes the AutoPulse unique is that instead of pistons pressing and lifting only one part of the sternum, the AutoPulse uses a band that wraps around and squeezes the entire chest. (See a video of the machine in action below.) As a result, "victims receive more consistent, high-quality compressions… which means improved blood flow," according to the manufacturer's website.
In addition to the AutoPulse, the Alfred doctors also used a technique on Fielder called extracorporeal membrane oxygenation (ECMO) — it's essentially an artificial lung outside the body that keeps oxygen and blood flowing to the patient's brain and vital organs. ECMOs have been used in the past for lung transplant recipients as well as extremely ill newborns. But it is this combination of ECMOs and the AutoPulse, currently in clinical trials at the Alfred, that has proved successful in reviving the dead.
The combination of the ECMO and AutoPulse helps to keep the body "living" while also giving doctors time to diagnose the heart attack's source and treat it. More time and care mean an increased chance of survival and ensure further research can be conducted on cardiac arrests — still the most common cause of death worldwide.
The Alfred has so far used these treatments on seven patients, three of whom survived without further complications despite being clinically dead for substantial amounts of time. If the trials can build on these early successes, other Australian hospitals may see the expanded role of the ECMO and the AutoPulse in their own facilities, officials say.
Now before you up and move to Australia, similar techniques have been used in the U.S in equally limited trials. Dr. Sam Parnia, head of intensive care at Stony Brook University Hospital in New York, has dedicated his career to bringing ill people back from the dead. His research has taught him that successful resuscitation comes by way of mechanical CPR combined with ECMO treatment. Parnia says these methods are not only straightforward and relatively cheap, but also could save up to an estimated 40,000 American lives per year. To help spread the word to doctors and patients alike, Parnia wrote a book earlier this year called The Lazarus Effect.
In the book, Parnia describes how Japan has already standardized the practice of using ECMO in emergency rooms. Siphoning the dead person's blood out of the body, into and through an external oxygenator, and back through the body has reportedly extended the time a person can be dead and brought back to life again by hours. Parnia tells The Guardian of one such miraculous instance:
"The longest I know of is a Japanese girl I mention in the book," Parnia says. "She had been dead for more than three hours. And she was resuscitated for six hours. Afterwards, she returned to life perfectly fine and has, I have been told, recently had a baby." [The Guardian]
Sources: American Heart Association, Daily Mail, EMS1.com, The Guardian, HHGN.com, U.S. National Library of Medicine, New York Presbyterian
Study finds that the majority of Americans are not exercising enough
Leg day
3 Florida nursing schools sold 7,600 fake diplomas, DOJ says
exam scam
Study finds that nail salon UV lamps could increase cancer risk


text:
LAE Rotary Changeover
THE guards have changed at the Rotary Club of Lae and a new team has now taken over the running of the club for the next 12 months.
Business executive Anthony Whitfield and a team of new executives on Tuesday night took over leadership of the club from Steve McNeilly and his team.
Mr McNeilly now resumes the role of Assistant District Governor for Papua new Guinea in Rotary District 9600 which covers part of Queensland, PNG, Solomon Islands and Nauru.
Mr McNeilly congratulated the new team and assured them of his support in the challenge of delivery charity help to the community.
Mr Whitfield also heaped praise on Mr McNeilly and his outgoing executive for their untiring efforts to move the club forward.
"Being a Rotarian is a tremendous commitment on your part, and I am confident the service you give to the community through this Rotary Club will be well worth it as we achieve the goals set for this year," said Mr Whitfield.
" I want to acknowledge and thank members' partners and families for the support and the sacrifice they make as well. " Your contributions are valued equally.
"Our 2011-12 club goals are part of a wider club leadership plan developed over the past six weeks and I want to thank all those members who have dedicated their time and their skills to this task. We will review these at next weeks meeting as the budget and board matters are finalised.
"This coming Rotary year presents a unique and, for many of us, once-in-a-lifetime opportunity to work alongside a diverse group of people from many different organizations and countries in such a unique environment.
" It will be busy. It will be challenging. It will also be rewarding and fun," Mr Whitfield told his fellow Rotarians, their spouses and guests who were mostly members of the Huon Rotary Club.
He added: "The impressive level of expertise, experience, and commitment to community service will ensure we reach our goals.
"Without question, the Club needs re-vitalization. There has been an exceptional amount of work done with our website, our plans, our systems and governance behind the scenes to ensure we are well on the way to revitalizing and sustaining the Club. But we must compliment that effort with more members and improved partnerships.
"It will be the task of all of us to identify and introduce prospective Rotarians to our Club. Throughout the first quarter of the Rotary year the Club is focused on its fundraising but at the same time I challenge you all to focus on increasing our membership."
Photos from the Rotary Club of Lae changeover Dinner can be viewed by going here.


Simple, smart banking wherever you are.
We've got all you need to keep on top of your money.
With our Spendometer, you'll get a better picture of how much you've got to spend – with more information than just your balance. It adds up the money you have, and subtracts upcoming bill payments, pending transactions, and any fixed deposit type of savings. That way, you get a real-time snapshot of your finances.
You'll reach your savings goals more quickly with regular savings. Timed Deposits to help you save automatically, and Spendometer will take savings into account when it works out what you have left.
You'll reach your savings goals more quickly with regular savings. Time Deposits to help you save automatically, so you don't even need to think about it – which helps your savings build up. Spendometer will take savings into account when it works out what you have left.
I am not a Hellenic bank customer. Is there an option to explore some of the app's features?
Even if you are not a Hellenic Bank customer, you can use the 'take a tour' feature of the app and simulate transactions, as well as take advantage of features like finding the nearest Hellenic Bank ATM or branch, viewing foreign currency rates, or getting in touch with us via phone, email or social media.
Do I use the same login credentials (username and password) for mobile banking that I use for web banking?
Yes, the same web banking credentials (username and password) are used to access your Hellenic Bank accounts through mobile banking app.
Do I need to use a digiPIN for transfers and payments?
Most transactions (transfers, payments) have to be authorised by using your digiPIN device.
However, you won't need to use it if you are transferring money between your own accounts or to a pre-approved payee.
Hellenic Bank considers the protection of customers' personal and sensitive data of the highest priority and implements appropriate security mechanisms to ensure its safekeeping.
Our Mobile Banking app is protected by the use of industry-standard protocols which create a secure environment for transferring data in an encrypted format.
You will be provided a Username and Security Password to submit each time you wish to access to mobile banking app.
We strongly recommend that you always keep your Passwords confidential and never reveal them to anyone.
For even greater security, Hellenic Bank has introduced 'digiPIN' technology. In order to carry out any money transfer or transfer any amount to third parties, you'll need the code from your digiPIN.
You'll be logged out after 10 minutes of inactivity, to ensure the confidentiality of your personal and financial information.
The system locks automatically after three unsuccessful attempts to login, as a safety measure against unauthorised access.
How can I find my operating system version?
Can I install the mobile banking app on more than one device?
Yes, you can install the mobile banking app on all compatible devices.
Why is the back button disabled on my Android device?
The back button on the hardware has been deactivated for your security. For this reason, the app provides a "tab based" navigation as well as an integrated back button.
Are there any fees for using the mobile banking app?
There is no charge from Hellenic Bank to download or use the mobile app. However, your wireless service provider's connectivity or usage rates may apply. Fees as provided in your online and account agreement(s) still apply.
How can I get access to the full suite of features?
To access the full suite of features in the Hellenic Bank app, you'll need to be a registered user of online banking and login with your credentials. If you don't have your credentials you may visit your nearest Hellenic Bank branch.
Can i use my 'business' credentials to login?
Which accounts are available through my Hellenic mobile app?
You can see the same current, savings, deposit, credit/debit card, loan and mortgage accounts you access on NetBanking using your Hellenic Bank mobile app.
Hellenic Bank's 'spendometer' does all the maths for you by adding up your available balances (including available overdraft limits) and subtracting upcoming bill payments, pending transactions, and any fixed deposit type of savings. This way you get a more accurate picture of what you can afford.
How is the spendometer calculated?
2. The 'spendometer' calculates all automatic monthly card payment + Direct Debits + sum of other Standing Orders +Pending Payments two working days before the execution (as per RBS) except Loans payment Standing orders which is calculated from the beginning of the month.
Which banking functions can I perform through the mobile banking app?
Where do I type my authorisation PIN?
You will not be prompted to use your authorisation PIN, during transfers or payments. You will only need your DigiPIN.
Can I change the value date of a remittance?
There is no option to change the value date through the mobile app. All remittances will be processed with the default value date.
Can I send rubles to Russia?
Can I change my password using the app?
Yes, you can change your password within the app, after you've logged into the service.
Can I create favourite payments through the mobile banking app?
Yes, you have the option to create a favourite payment through the mobile banking app.
Can transfers be canceled or changed through the mobile banking app?
Future transactions can be cancelled through the app. Once a transfer is executed you will need to send a secure bank mail through the application to cancel it.
Can I manage my standing orders and direct debits from the mobile banking app?
What if a transfer can't be processed?
You will be notified when trying to make the transfer, or you can view the status on the Transactions History screen.
Why is the mobile banking app asking me to give permissions to access my location services?
The app has an embedded feature to help you locate your nearest Hellenic Bank ATM or branch, as well as the nearest JCC ATM in Cyprus.
Are my account details stored on my mobile device?
The Hellenic Bank mobile app does not store any sensitive data on your mobile device.
You should always use the log off button to close your session after using the Hellenic Bank mobile app.
For your security, even if you don't log out your session will time out after 10 minutes of inactivity. After this, anyone using your mobile device will have to enter your username and password to access your account information. If your mobile device is stolen, no one can access your account information without your username and password.
We also recommend that you not store your Username and Password in another app on your device. Even if you believe there's no way for someone to access personal information from your device, you should consider contacting your wireless service provider to have your device deactivated, and wipe out all apps and data on that device.
Can I contact the bank from the mobile banking app?
You can contact the bank via phone, bank mail or social media (Facebook and Twitter).
If you forget your password, please visit your nearest Hellenic Bank branch to obtain a new one.
What is the 'floating action button' (FAB) ?
This is a 'quick action button', based on the functionality and design used by most social media applications (FB Messenger, LinkedIn, Skype, Twitter etc). You can open an instant fixed deposit account with just a tap of your thumb. More products will be added in the near future.
What happens when I block my Debit or Credit card?
If you block your card temporarily, nobody (not even you) will be able to use it for any transactions. You can unblock it anytime you like from the same setting. If you ever want to block the card permanently because it's lost or stolen, click 'Report as Lost or Stolen' instead, as this will alert us to look out for unauthorised use – and we'll also replace your card for you.


Tags: Smells like Smells Add facilitiesamerica.info: Nirvana - Smells Like Teen Spirit. From The Community. Try Prime All Go Search EN Hello. Sign in Account & Lists Sign in Account & Lists Orders Try Prime Cart 0. Your facilitiesamerica.info Your facilitiesamerica.info Year-End Deals Gift Cards Whole Foods Registry Sell .


text:
DJJ Reports Record Low in Delinquency Referrals for School-Related Offenses
The Florida Department of Juvenile Justice recently released its annual Delinquency in Florida's Schools Report, which shows double-digit and record declines in school-related delinquency measures.
Tallahassee HOG Riders Are Makin' Bacon for FJJF
The Tallahassee Harley Owners Group, "HOG," has selected the Florida Juvenile Justice Foundation as its primary charity.
Pensacola Juvenile Justice Facilities Receive a Visitor from New Zealand
The Florida Department of Juvenile Justice (DJJ) today welcomed Gabrielle Stembridge, executive director of the Kauri Trust, a juvenile justice residential services provider in Auckland, New Zealand. Stembridge toured the Escambia Regional Juvenile Detention Center and the Pensacola Boys Base, a DJJ contract provider for juvenile residential services.
Florida State Agencies Celebrate Trauma-Informed Care Day
Four Florida state agencies hosted a joint press conference Monday at the Capitol in recognition of Trauma-Informed Care Day.
Juvenile Justice Research Institute Kicks Off with FAMU Homecoming
The Florida Department of Juvenile Justice (DJJ) today joined with representatives from Florida's historically black college, universities and Florida Atlantic University, along with state and community leaders, at Florida Agricultural and Mechanical University (FAMU) to celebrate the grand opening of the Juvenile Justice Research Institute (JJRI).


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Best New Pickup Trucks of 2023
Pickup trucks are hugely popular, and many models offer more off-road and towing capabilities than most people need. The good news is that the resurgence of smaller trucks makes the body style even more accessible pricewise while maintaining a notable amount of versatility and capability. Our editors have put just about every pickup truck sold today through our renowned testing regimen. From performance testing to cargo area measurements and a real-world fuel economy challenge, we do it all. From entry-level work trucks and heavy-duty haulers to hybrid-powered and high-performance models, these pickups are the very best of the breed.
Here are the best pickup trucks for other model years: 2021 | 2020 | 2019
Although the nameplate originally was used on a less-than-stellar compact car line in the 1970s, Ford has revived the Maverick name for its new small pickup truck, and has slotted it into the lineup below the mid-size Ranger. This time, the Maverick is an impressive package worthy of an Editors' Choice award. Instead of sharing parts and mechanicals with the Ranger, the Maverick rides on the same chassis as the Bronco Sport compact crossover. The standard powertrain is a hybrid setup that consists of a 2.5-liter four-cylinder engine, an electric motor, a continuously variable automatic transmission, and front-wheel drive. Ford also offers all-wheel drive, but only with the optional nonhybrid turbocharged 2.0-liter four-cylinder engine. All models sport the same four-door crew cab body style with a 4.5-foot bed. The Maverick is part of a new class of small pickup trucks that Hyundai is also entering with the upcoming Santa Cruz.
Review, Pricing, and Specs
Don't get it twisted: the new 2022 Hyundai Santa Cruz is a pickup truck. Its smaller proportions and unibody construction just mean it's no full-size tow rig, but we still like it enough to put it on our Editors' Choice list. Instead, think of the first Hyundai pickup as an alternative to the also-unibody Honda Ridgeline, which too features a one-size-fits-all crew cab, short-bed body style. The Santa Cruz certainly looks more distinct than the Honda–or any other mid-size truck, for that matter–with its interesting face and creased sheetmetal. Its interior is snazzier than its classmates, too, but the lack of physical controls on some models is disappointing. Its standard four-cylinder engine is also undesirable, but the more powerful turbo option is a pricey proposition. Still, the 2022 Santa Cruz is a more functional twist on the tired crossover formula, and that open box on its butt means it qualifies as a pickup truck.
Andi Hedrick - Car and Driver
The futuristic R1T is an all-electric pickup truck from new American startup brand Rivian, and it promises 300 miles of driving range and lightning-quick acceleration, enough to earn it an Editors' Choice award. At 215.6 inches long, the crew-cab-only R1T splits the difference in size between mid-size pickups such as the Ford Ranger and full-size trucks such as the Ram 1500. The R1T is the first electric pickup truck to make it to production in what seems to be a burgeoning market, soon to include the Ford F-150 Lightning and the GMC Hummer EV SUT.
Marc Urbano - Car and Driver
The 2022 Honda Ridgeline is incredibly versatile, mixing some of the best attributes of both mid-size trucks and crossovers, which earns it a place on our Editor's Choice list. The cargo box is obviously its defining feature, and it includes an underfloor trunk and a short-but-wide bed. Despite some truck-like styling cues, Honda's pickup can't hide its unibody construction, which limits its off-road capability and maximum tow rating but optimizes on-road comfort. Sure, the Chevy Colorado ZR2 and Jeep Gladiator can go almost anywhere, but—like most other mid-sizers—their back-seat space and ride quality can't match the Honda. With a dutiful V-6 powertrain and standard all-wheel drive, it moves with purpose, and its independent rear suspension delivers poised handling. Consider the 2022 Ridgeline's many standard driver assists and comfy and quiet interior and you have a truck that's desirable and useful.
Chris Tedesco - Car and Driver
The 2022 Chevrolet Colorado satisfies shoppers who want the versatility of a traditional pickup without the compromise of a full-size truck. While the half-ton Chevy Silverado 1500 offers a family-sized back seat and higher towing capacity, the mid-size Colorado is easier to maneuver and still boasts a notable maximum tow rating of 7700 pounds. Despite its uncouth base engine, the available 308-hp V-6 is responsive and speedy, and the diesel option is thrifty and torquey, producing a sizable 369 pound-feet. The Chevy's oil-burning mill is no match for the diesel Jeep Gladiator, but the bow tie is better to drive and matches the Jeep's ruggedness with the hugely capable ZR2 model. The 2022 Colorado's comfy driving position and robust infotainment system are offset by a dearth of driver-assistance tech and its cheap-looking cabin, but those shortcomings should be less offensive to anyone seeking a more conventional truck experience.
The 2022 GMC Canyon is well suited for folks who want some of the capabilities of a full-size pickup truck but in a mid-size package. That mission starts with its sturdy body-on-frame construction, extends to its potent V-6 and torquey diesel-engine options, and culminates in a maximum tow rating of 7700 pounds. Those hoping to hit the trails will appreciate the rugged AT4 model, which includes 31-inch tires and a unique off-road suspension. Available with an extended or crew cab and two bed lengths, the Canyon is just as versatile as its corporate counterpart, the Chevrolet Colorado. However, we think the GMC version looks classier and more mature. Just prepare to overpay for the Denali's unremarkable interior and notable lack of high-tech assists. Still, the 2022 Canyon will satisfy anyone who wants a smaller, more affordable alternative to the half-ton GMC Sierra.
Michael Simari - Car and Driver
The 2022 Jeep Gladiator pickup truck requires sacrificing comfort for coolness and usefulness. For folks who love the Jeep brand, that sacrifice is easy to make considering the added versatility its pickup possesses over the popular Wrangler SUV. Not only does the Gladiator also have removable body panels and the inherent ability to play in the dirt and mud, but it can tow two tons more and has a cargo bed that adds another dimension to its skillset. Sure, the Wrangler is nimbler on the trails, but the Gladiator's longer wheelbase gives it a better ride. Compared with body-on-frame rivals like the Ford Ranger and Nissan Frontier, the Jeep is more of a handful at highway speeds, requiring regular steering inputs to remain steady. Still, the 2022 Jeep Gladiator's optional diesel engine has more torque (442 pound-feet versus 369) and a higher combined EPA rating (24 mpg versus 22) than the Chevy Colorado and GMC Canyon.
Pickups have a variety of talents, but the 2022 Ram 1500 is more talented than most half-ton trucks because it's significantly nicer. Sure, the entry-level models aren't lined with the luscious materials and upscale features of the priciest trims, but they still ride better than the fanciest alternatives thanks to its more sophisticated suspension, which can be made cushier with the available air springs. Ram also offers the 1500 with a massive 12.0-inch touchscreen, compartments built into the cargo bed, and a split-folding tailgate. Its roster of engines operate through a silky automatic transmission and include a 395-hp Hemi V-8 (with or without hybrid assistance) and an eco-friendly diesel six-cylinder with 480 pound-feet of torque. The strongest configuration can also tow 12,750 pounds. Obviously, the Ram 1500's capabilities ensure it won't be confused for anything but a truck, but the fact that it can pass for a luxury vehicle is what makes it special and what earns it an Editors' Choice award.
Ram 1500 TRX
Most monster trucks are confined to arenas and closed courses, but the 2022 Ram 1500 TRX is one that can be unleashed on public roads. Essentially the regular Ram 1500 on steroids, the juiced-up TRX is dramatically wider and has a supercharged V-8 that generates 702 horsepower. Sure, there are mightier Hellcat-powered models, but no other stock pickup sounds like it ate a band of demons while sailing to 60 mph in just 3.7 seconds. The 450-hp Ford F-150 Raptor is the TRX's only real challenger, but it's not a fair fight until the 700-plus-hp Raptor R arrives. Even then it'll have to contend with the Ram's ridiculously luxurious interior and remarkable on-road manners, which helped it earn a 10Best award and a place on our Editors' Choice list. Living with the 2022 Ram TRX isn't all Monster Jam-worthy antics, though, because maneuvering in traffic or parking lots can cause anxiety and frequent fuel fill-ups will become a routine. Then again, no one ever said owning a monster is easy.
With a wide range of trims and body styles, the 2022 Ford F-150 is a workhorse that can be outfitted to suit any number of tasks. Contractors and fleet managers will appreciate the low-cost and utilitarian nature of the base XL while oil barons and wealthy ranch owners will feel right at home in the King Ranch or Limited versions. A host of powertrains are offered too, including a hybrid and a diesel, and an off-road ready Tremor model promises to take you nearly anywhere you need to go. The F-150 has the grit to get the job done. It's not quite as nice to live with on a daily basis as its chief rival, the Ram 1500, but huge numbers of buyers have historically been swayed by the Ford's reputation and wider range of available features. We're sure very few of them have regretted their purchase, so we're happy to put the F-150 on our Editors' Choice list.
Andi Hendrick - Car and Driver
Ford F-150 Raptor
Think of the 2022 Ford F-150 Raptor as a pickup truck on steroids. Compared with the regular F-150, its body is bulkier, its powertrain is stouter, and its chassis is enhanced to endure more punishment in muddy, rocky, and sandy environments. Sure, the 450-hp twin-turbo V-6 behind the Ford's distinctive face sounds underwhelming versus the Ram TRX's 702-hp supercharged V-8, but a similarly powerful and melodic Raptor R is coming. The regular-strength Raptor is still exceptional at high-flying antics, and it rides with undeniable smoothness in myriad conditions. It's not as athletic on-road as the TRX, but its interior looks rich and rugged with popular tech and upscale features. Unlike the Ram, the 2022 F-150 Raptor can be fitted with 37-inch tires, but the package is pricey. Still, the Raptor is the biggest and baddest F-150 money can buy, earning it a place on our Editors' Choice list.
A 2022 Ford Super Duty—either the F-250, F-350, or F-450—is more truck than most people need. But for those who need one, it's mighty impressive. There's a trio of V-8 engines, highlighted by a 7.3-liter with 473 pound-feet of torque and a diesel 6.7-liter with 1050 pound-feet. A properly equipped Super Duty can tow up to 37,000 pounds and haul up to 7850 pounds of payload. While heavy-duty rivals from Ram offer higher torque and tow ratings, as well as nicer interiors, Ford's fanciest crew-cab models provide upscale environs and enormous passenger space. The Chevy Silverado HD and GMC Sierra HD both have better driving manners, but the 2022 Super Duty touts more high-tech features and various driver assists.
Ram HD
The 2022 Ram 2500 and 3500 are capable of replicating semi-truck-like towing abilities, and they can also be outfitted to coddle passengers with their unrivaled luxury qualities, making them worthy of an Editors' Choice award. No other heavy-duty truck delivers the Rams' combination of ride refinement and upscale interior appointments. Of course, the Ram HD family doesn't forget its roots, either. Whether it's the diverse trim levels and body styles or the multiple powertrains that range from a 410-hp Hemi V-8 to a Cummins diesel engine with up to 1075 pound-feet of torque, there's a model to fit almost every budget and job description. With today's trucks being both high-tech and hard-working, the 2022 Ram 2500 and 3500 also offer a plethora of popular infotainment features and useful assists that help the driver tow a trailer and maneuver these massive machines in possibly unnerving situations like heavy traffic and tight spaces.
Pickup trucks are some of the best-selling vehicles in America, and these models are the best at their jobs and among the most compelling options on the road.
Jimmie Johnson to Head All-Star Driver Lineup for NASCAR's 24 Hours of Le Mans Entry
NASCAR announces driver lineup for its 24 Hours of Le Mans Garage 56 effort.
A Suzuki Jimny EV Is Part of Suzuki's Plan for World Domination by 2030
The Suzuki Jimny may get a literal power boost as a fully-electric model by 2030 now that Suzuki is investing billions into electrification. After a relatively long period of uncertainty regarding its stance on EVs, Suzuki is earmarking nearly $35 billion to produce a lineup of five EV models that will go on sale in Europe by the end of the decade, and one of them could be a Jimny EV.
What Happened When a Startup Tried to Bring an AI Chatbot to Traffic Court
If you've ever tried to fight a parking ticket or negotiate a cable bill, you may have heard of a company called DoNotPay. It offers a subscription-based service to automate those boring, time-consuming tasks by using chatbots and AI to talk to customer service representatives or deal with endless forms and paperwork. But recently, it's been promising more. Earlier this month, the company issued a challenge: It offered $1,000,000 to anyone willing to let its chatbot argue a case before the U.S.
Volta Gears Up for EV Truck Production
This purpose-built electric delivery truck is getting ready to enter production. But when will we see these stateside?
This story is pretty badass…
Joe Manchin Pushes Bill to End Current EV Tax Credit Grace Period
The electric vehicle tax credit's biggest enemy will stop at nothing, Tesla's doubling down on Semi production in Nevada, and Volvo has a big recall on its hands. All that and more in The Morning Shift for Wednesday, January 25, 2023.
Remembering when Jenson Button's dad put a Rolex through his washing machine.


Why am I getting an 'API token is missing' error?
1. The obvious answer might be that your API token is actually missing. Check your Request Headers if you are using the Platform API.
2. However, you might be getting the error if you're using the client SDKs. In this case, check if you have connected to SendBird. In many cases, this error is caused by not connecting at all, or calling another SendBird method immediately after invoking the connect() method. In the latter case, you must wait until you have received a callback from connect() before you are completely connected!


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The Longest Five Minutes Review
February 7, 2018 February 6, 2018 Craig Majaski 0 Comments # of Players: 1, Developer: NIS, Price: $39.99, Publisher: NIS America, Rated T for Teen, Release Date: February 13 2018, Role-Playing Series, Switch-Longest-Five-Minutes
When there are upwards of 10 to 15 games released each week on the Nintendo Switch, it can be difficult to stand out and be noticed. After all, there's no shortage of retro-looking pixel art games on the eShop and on its surface that's exactly what The Longest Five Minutes looks like. However it has two very important things going for it. The first is that it's a turn-based JRPG, something that's a bit underserved on the Switch thus far. Second, the game begins at the end.
Yes, that's right, you begin the game fighting the last boss! But, something has happened and your memories have been wiped, leaving you helpless to defend yourself. Only by talking with your party members and remembering what led up to this epic duel will you be victorious, and thus the game unravels through flashbacks and the title "The Longest Five Minutes" begins to make sense. You only have five minutes to kill the boss, but the game will take most over ten hours to plow through the story leading up to the showdown. It's an original take on a familiar plot, but thanks to some charming characters, entertaining writing, and a fast-paced story it's one worth playing.
From the get-go I need to make one thing clear: this game feels like a beginner's role-playing game. Similar to how Square tried to ease gamers into the genre with Final Fantasy Mystic Quest on the Super Nintendo, NIS America has released a game that's easy to pick up and play without any previous experience with RPGs. You won't find any complicated systems or combat like Xenoblade Chronicles 2. Instead, you're presented with a straightforward battle system that seems ripped right out of Dragon Warrior. You have your standard attacks as well as access to magic and items. Most of the time you can wipe the enemies out by just selecting attack with every party member and within one or two rounds they'll be defeated. The game does pick up in difficulty a little toward the end, but it's nothing worth worrying about. Understandably this could be off-putting for veteran gamers who will no doubt find the game way too easy. For those players I recommend going into the game for the exploration and story elements instead, but keep in mind this isn't some 30 hour excursion – you'll probably get through it in 10 hours or so.
The crazy part is that you'll be tackling the game out of order, so sometimes you'll be higher levels than you'll be later in the game. For that reason it's really not necessary to buy new equipment since the next chapter you probably won't have access to it anyway. Of course this does beg the question why there are shops to begin with. I must admit I was a little ticked off after I grinded a bit to buy a weapon for the main protagonist (whose name is…wait for it…Flash Back…ugh) only to find out that he didn't have it after I completed the chapter. After that I didn't bother buying too many things since the game was easy enough without having to worry about equipping new items all the time. Plus, new items and weapons can be found in caves and also in pots littered about. I do appreciate the ability to equip the best stuff with one button press – the same is true of healing the entire party. After spending hours and hours in menus in other RPGs, the respect this one has for my time is refreshing.
Graphically the game reminds me a lot of Earthbound. The developers call it an 8-bit RPG, but it definitely has more details and colors and looks closer to a SNES game. The sprites are pretty detailed, but the game has a habit of blowing them up to quadruple the size where they become quite ugly. I'm not sure why this decision was made, but for most of the game it looks like an early '90s affair. The battles take place with your characters' backs to the screen and the enemies facing them down. It's very reminiscent of the older Dragon Warrior or Phantasy Star games, but again, the zany enemy designs remind me of Earthbound. The overworld can be explored, although the game is fairly linear in this regard and you really can't go far off the beaten path – there's simply nothing there.
While the graphics are decidedly old school, the music is quite the opposite. From the title screen I was struck by how great the soundtrack is in this game. Throughout the game the music is fantastic and there are some truly great tracks where I just stopped what I was doing to listen to the tunes. In some ways this game reminds me of the early days of the Sega CD and TurboDuo where the games looked decidedly 16-bit, but the music was glorious. My only gripe here is that the music starts over from the beginning after every random battle – something I'd expect from red book audio on a CD, not a cartridge. Not surprisingly there's no voice in this game, but honestly the writing is so good that it's not missed.
At its heart, The Longest Five Minutes is just like any other JRPG with a group of kids getting together to go on a quest to save the world from demons. Many parts of this game will feel familiar to those who have been enjoying RPGs since the '80s. I give it major props for unique story delivery and entertaining NPC dialog. There are some odd things said from time to time, some of which could be considered sexist (hot springs will make your breasts grow bigger!), but overall I thought the story was well told and the game doesn't overstay its welcome. Some people may balk at the $40 price tag, and I agree it is probably a bit overpriced for the length of the game. However, I can't deny I had a great time playing it despite its overly easy difficulty. I recommend it to newcomers to the genre and those itching to play a JRPG that feels like it was meant to come out in the early '90s.
Gameplay - 8.5/10
Lasting Appeal - 6/10
Final Thoughts: GREAT
The Longest Five Minutes looks and plays like an RPG from yesteryear. However, it's superb soundtrack, entertaining writing, and unique plot progression makes it a great game to check out. It is on the very easy side though – you won't find much depth or strategy in the combat system. It's great for RPG beginners.
The Longest Five Minutes was reviewed using a final retail Nintendo Switch download code provided by the publisher.
World Of Final Fantasy Maxima Review
November 14, 2018 Evan Roode 0
My Time At Portia Review
April 16, 2019 Jordan Brewer 0
Alwa's Awakening Review
October 4, 2018 Aaron Conwell 1


Was reading another thread re perceived brightness with the new Forte III. Years ago (early 80s), I had a pair of EVs from the Interface series. They were my first good pair of speakers. They came with a very small outboard unit you had to use that adjusted the sound for your room. Memory a bit fuzzy on this. Has anyone ever built something along this line for specific Klipsch speakers as an alternative to crossover rebuilds and such? Would it even work? Aside from the units that were part of the EV speakers in those day I have not seen any other speaker manufacturer offering anything like this.
A few assorted items on the selling block: Rolls SX 2-way stereo crossover - $50 - view at Parts Express ART EQ-341, 2/3 oct, 15 band - $50 - view at Parts Express Niles HPS-6 speaker selector box - $50 Original dbx 120 sub harmonic synthesizer - $50 - it needs the some tlc on a sticky switch All plus actual shipping. Thanks I tried to upload pics but they are too large... I will work on it.


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Q: Why a boolean can be in some cases converted to a string, and in other cases not? I used a method that took a String and I wanted to pass a primitive boolean. I expect it to take that boolean and convert it to a String containing either "true" or "false".
Assume the following method:
public void method(String input) { ... }

I first tried something like this:
boolean myBoolean = true;
method(myBoolean.toString());

This gave me an error during compilation. But then when I added following additional overloaded method, this worked again:
public void method(Boolean input) {
   method(input);
}

I was confused to discover that in that case, calling method(myBoolean) worked just fine.
Why is this?

A: First thing to understand is that primitives do not have methods. At least not as of date, and might change with implementation of Project Valhalla. To be able to call the toString() on it, you will first require to box it either by autoboxing or by wrapping it explicitly.
Given a method public void takeString(String input) {}:

*

*takeString(true) will fail, although

*takeString(""+true) will work, as it is equivalent to

*takeString(""+Boolean.valueOf(true).toString()), which works.

*takeString(Boolean.valueOf(true).toString()) will work as well, but note that

*takeString(Boolean.valueOf(true)) will fail again for the same reason as in (1).

It might be curious that in case (2), it was able to apply autoboxing and implicitly call the toString(), while it was not able to do so for (1).
But there is good reason for it, as in the case of (2), it is clear to the compiler that the method signature will have a parameter type of String, so it can do the needed implicit conversions. While for (1), it would be dangerous to do so given that we can have multiple overloaded versions of takeString. It just makes the compiler's job simpler, and avoids issues when the overloaded version would be added later on. It is safer to fail on (2).
Example, we do not want logic to suddenly change because we add following method: public void takeString(boolean input) {}.
Possibly you could consider adding following method:
public void takeString(Boolean b) {
  takeString(b.toString());
}

The intent of "conversion-only" is clear here, and will reduce the chance of adding in additional unintended logic.
In that case, it might also be wiser to provide an overloaded version for the native boolean parameter to avoid surprises later on as the API evolves.
Then all your cases, except true.toString() will work. Seems like a case to ask to implement conversions in Java, the way we have them in Scala. That will avoid a lot of overload boilerplate.

A: Primitive types (boolean for example) do not have methods. That is why an error occured when you tried boolean.toString(). Wrapper classes than though (Boolean.toString() for example).
Now for the method, if your method is like this:
public void method(String s)

then you must have made another method like this:
public void method(boolean b)

to be able to perform method(boolean). Without the method(boolean b), your compiler would say method cannot be applied to boolean or something along those lines.


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Q: How to use Navigation relay satellite in X2:The threat? The problem with this game is that not only it lacks in game help but there's also next to nothing about it on the internet.
I bought a Navigation relay satellite at a trading station. I'm not 100% what it does, and absolutely no idea how to install it in the current system. How does that satellite work?

A: Navigation relay satellites provide you with a data feed in your sector map when you are no longer in the sector. You can also buy new ships remotely from the Shipyards within the sector if you have the trading system extension installed. Advanced satellites have double the range.
Typically speaking you want to place your satellites 10-20km outside of any major flight path as to avoid having them destroyed, you can also try to use values like -20/-15 or +20/+15, but watch for any portals or paths get too close.


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DVDs, Movies, TV
Mike Bartlett's "Press" takes a riveting look at two of London's fictional rival newspapers
January 10, 2020 alanwp	Leave a comment
An ensemble cast of some of Britain's hottest talent portrays the committed and passionate characters behind the daily news at two fictional rival newspapers in Mike Bartlett's Masterpiece drama Press (PBS Distribution). Set in the world of newspapers in London—its past riven by hacking scandals, its present at the mercy of the digital age and the 24-hour news cycle, its future uncertain—this razor sharp and observant drama explores the current, turbulent media landscape and the ethical dilemmas that journalists and editors face each day.
Charlotte Riley stars as the News Editor of fictional newspaper, The Herald; Ben Chaplin as the Editor of the fictional The Post; and Priyanga Burford as The Herald's Editor.
Press is rounded out with Paapa Essiedu as The Post's newest reporter and Shane Zaza its News Editor. Ellie Kendrick stars as a junior reporter, Al Weaver stars as an investigative journalist and Brendan Cowell stars as the Deputy Editor at The Herald.
"Merchants of Truth" raises crucial questions as we face a crisis in trust that threatens the free press
In Merchants of Truth: The Business of News and the Fight for Facts (Simon & Schuster, $30), prizewinning…
Mike and Dave post a Craigslist ad . . . they need wedding dates and get much more
It really started with an ad on Craigslist. Really. The ad went up at 9:13 a.m.…
A sampling of St. Martin's Press new releases . . actors, rock 'n roll, cake and the biggest liar since Nixon
Fear not. There's another great book about Adolph Frump: Mr. Trump's Wild Ride: The Thrills, Chills,…
Al WeaverBen ChaplinBrendan CowellCharlotte RileyEllie KendrickMike BartlettPaapa EssieduPBS DistributionPressPriyanga BurfordShane ZazaThe Herald
Previous PostJoys and hardships. Overcoming obstacles. Near-daily adversities. Welcome to "Animal Babies: First Year on Earth"Next Post"The Ice King" chronicles the emotionally resonant journey through John Curry's remarkable life and career


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April 8, 2018 / 1:27 AM / a year ago
Fowler finds putting touch to revive maiden major hopes
Larry Fine
AUGUSTA, Ga. (Reuters) - Rickie Fowler gets another crack at erasing his name from the 'best players yet to win a major' list and the return of his touch on the greens has him believing that time may have come at the U.S. Masters.
Rickie Fowler of the U.S. reacts to missing putt on the 18th hole during third round play of the 2018 Masters golf tournament at the Augusta National Golf Club in Augusta, Georgia, U.S. April 7, 2018. REUTERS/Mike Segar
Fowler, who in 2014 posted top-five finishes in each of the four majors including runner-up showings in the U.S. and British Opens, posted a flawless seven-under-par 65 to sit five adrift of fellow-American Patrick Reed going into Sunday's final round.
"I've been hitting great putts," the 29-year-old Fowler told reporters. "Ball has been on line. I feel like my speed's been on point. Speed was pretty much perfect.
"Nice to see that it's warming back up. My putter is typically one of the best clubs in the bag. It went a little bit cold on me the last few months but it's definitely nice to have it back."
Fowler launched his charge up the leaderboard with 25-foot eagle putt at the par-five second hole and added birdies at the fifth, sixth and eighth holes.
After a string of six pars, birdies at the 15th and 17th put him within five of the lead and accomplished his mission on 'Moving Day' at Augusta National.
"We did what we needed to do today to give us a chance to win tomorrow (Sunday)," Fowler added after his first bogey-free round at Augusta pushed him to nine-under for the tournament.
"I can't control anyone else other than put birdies up on the board. We're definitely in striking distance to put together a good round of golf like we did today, and we'll see what happens."
Fowler was in prime position last year, standing one stroke off the pace entering the final round before posting a 76 that dropped him down into a tie for 11th behind Sergio Garcia.
"Last year, at times, I may have gotten maybe too defensive or too aggressive and you learn from that and move on," he said.
"The big thing is sticking to what we've been doing well all week, continue to stick with our game plan," added Fowler, who won the 2015 Players Championship after a four-hole playoff against Kevin Kisner and Garcia.
"I'm definitely playing this golf course the best I have ever as far as how comfortable I am on each and every hole. Looking forward to keeping that going."
Editing by John O'Brien


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Obradivo tlo u geografiji znači zemlja koja može služiti za rast poljoprivrednih usjeva. Različito je od kultiviranog zemljišta, te uključuje džungle i nisu korišteni samo za ljudske potrebe. Obradiva tla danas prekrivaju oko 31 milijun kilometara.

Iako je ograničeno zbog mase i topologije, iznos ukupnog obradivog tla, regionalno i globalno, oscilira zbog ljudskih i klimatskih faktora poput navodnjavanja, krčenja šuma, širenja pustinja, deponija, i urbanog širenja. Zato se provode mnoga istraživanja kako ove promjene utječu na proizvodnju hrane.

Najproduktivni dio obradivih tla dolazi od naslaga od rijeka i mora iz geološkog doba. U modernom vremenu, rijeke ne poplavljuju poljoprivredna tla zbog kontrola polplava.

Neobradiva tla

Zemlje koje nisu prikladne za obrađivanje tla imaju bar jednu od sljedećih nedostataka:
 bez izvora svježe vode
 prevruća klima (pustinje)
 prehladna klima (Arktik)
 prestjenovit reljef
 preslanost
 previše kiša ili snijega
 prezagađenost
 slaba nutritivnost

Izvori

Vanjske poveznice
Obradivo tlo na Zemlji

Poljoprivreda


text:
An Interview With Claire Bishop
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Socially Engaged Art, Critics and Discontents: An Interview with Claire Bishop
By Jennifer Roche
What criteria should we use to evaluate socially engaged art?
London-based critic Claire Bishop recently raised provocative questions and poked at the critical
status quo about the discourse surrounding what she term, "relational" practices — socially
engaged art, community-based art, experimental communities, dialogic art, littoral art,
participatory, interventionist, research-based and collaborative art.
In socially engaged art, critic Claire Bishop believes the aesthetic is being sacrificed on the altar
of social change.
In her article for Artforum (February 2006), titled "The Social Turn: Collaboration and its
Discontents," Bishop argues that the creativity behind socially engaged art is said to "rehumanize"
a "numb and fragmented" society. However, she emphasizes that she believes socially engaged art
has fallen prey to circumscribed critical examinations. The discourse, she argues, has focused
mainly on the artist's process and intentions, or the project's socially ameliorative effects, to the
neglect of the work's aesthetic impact.
"Artists are increasingly judged by their working process — the degree to which they supply good
or bad models of collaboration," she writes. "Accusations of mastery and egocentrism are leveled
at artists who work with participants to realize a project instead of allowing it to emerge through
consensual collaboration."
"There can be no failed, unsuccessful, unresolved, or boring works of collaborative art because all
are equally essential to the task of strengthening the social bond," she continues. "While I am
broadly sympathetic to that ambition, I would argue that it is also crucial to discuss, analyze, and
compare such work critically as art."
Bishop draws on the notion of the aesthetic as defined by philosopher Jacques Rancière, who said
that the aesthetic is the "ability to think contradiction." "For Rancière," writes Bishop, "the
aesthetic doesn't need to be sacrificed at the altar of social change, as it already inherently
contains this ameliorative process." In other words, art heals. No need to hurry it along.
Bishop identified the writing surrounding the Turkish artists' collective Oda Projesi as emblematic
of the way "aesthetic judgments have been overtaken by ethical criteria." When Bishop
interviewed Oda Projesi for an earlier article, the collective — whose works include fostering
community projects with its neighbors out of a three-room apartment in Istanbul — said they
were interested in "dynamic and sustained relationships" not aesthetics. In fact, they said they
deemed "aesthetic" to be a dangerous word. "This seemed to me to be a curious response," notes
Bishop. "If the aesthetic is dangerous, isn't that all the more reason it should be interrogated?"
Bishop cites works by British artists Jeremy Deller and Phil Collins, Polish artist Artur Zmijewski
and Brussels-born artist Carsten Höller as producing works that yield richer aesthetic possibilities.
For example, she mentions Deller's "The Battle of Orgreave," which was a reenactment of a 1984
English miners' confrontation with police, complete with participation by a historical reenactment
society. She cites its ambiguous purpose and result, along with its many, often contradictory
layers of meaning and interpretation, as yielding a deeper, multifaceted work. She argues that this
occurs, in part, because the artist acted on his desires rather than according to particular ethical
criteria.
"Their work joins a tradition of highly authored situations that fuse social reality with carefully
calculated artifice," Bishop says of Deller and the others. Like Dadaism before them, they created
"intersubjective relations (that) weren't an end in themselves but rather served to unfold a more
complex knot of concerns about pleasure, visibility, engagement, and the conventions of social
interaction."
Bishop clearly wishes to shed the recurring ethical themes in the critical discourse, which she
often describes as Christian ideals of self-sacrifice and "good souls," in favor of embracing the
contradiction that naturally arises from the artist's intentions.
"The best collaborative practices of the past ten years," she concludes, "address this contradictory
pull between autonomy and social intervention, and reflect on this antinomy both in the structure
of the work and in the conditions of its reception. It is to this art — however uncomfortable,
exploitative, or confusing it may first appear — that we must turn for an alternative to the well-
intentioned homilies that today pass for critical discourse on social collaboration."
Not surprisingly, Bishop's article generated considerable interest, including a full-page rebuttal by
art historian and critic Grant Kester in Artforum's follow-up issue. CAN asked me to interview
her to learn more about her about her thoughts on evaluating socially engaged art and her current
work. I caught up with her in early July, and we conducted the interview via e-mail.
Jennifer Roche: Your article, simply put, seems to be a call to examine (or re-examine) the
principles under which we evaluate socially engaged art. You say that most socially engaged art
has been evaluated from an ethical viewpoint (good vs. bad models of collaboration).
Why do you think the discourse surrounding socially engaged art has lapsed in its critical
examination of the field as you've described?
Claire Bishop: There are several reasons for this, and they range from the pragmatic to the
ideological. On the one hand, in Europe at least, the influence of the art critic began to diminish in
the early 1990s, and was replaced by the curator as the figure who makes or breaks an artist's
career. And as we know, curatorial writing is on the whole affirmative and rarely expresses
reservations about a given artist. When I embarked upon this research I was struck by the fact that
most of the project documentation was written by curators. To an extent this is logistical: socially
engaged and participatory art projects are so complex, sprawling and context-based that the only
person with a handle on the overall project is invariably the curator. But because curatorial
work is so often concerned with fair mediation (between artists, audiences and institutions),
it is perhaps unsurprising that curatorial writing is oriented toward ethical questions.
The rise of communitarian discourse in the mid-1990s was underpinned by a desire to promote a
homogeneous and consensual view of society: an 'ethical community' in which political dissensus
is dissolved. IS THIS TRUE OF KESTER? I ASSUME THIS IS WHO SHE IS TALKING
On the other hand, we could also claim that an orientation towards the ethical is part of a larger
trend in the 1990s, symptomatic of what has been called our "post-political" age. Slavoj Zizek,
Jacques Rancière and others have observed an "ethical turn" in philosophy (as evidenced in the
resurgence of interest in Emmanuel Levinas, in Giorgio Agamben, and in the idea of "radical evil"
amongst Lacanian theorists), and this is also reflected in contemporary politics. The rise of
communitarian discourse in the mid-1990s was underpinned by a desire to promote a
homogeneous and consensual view of society: an "ethical community" in which political
dissensus is dissolved. As Rancière points out in "Malaise dans l'Esthetique" (2004), this
thinking also submits art and politics to moral judgments bearing on the validity of their
principles and the consequences of their practices. He is not speaking directly of socially
engaged art, but these ideas can be carried across with great poignancy.
JR: In your description of what a better critical discourse would require, you argue that the answer
might lie in the French philosopher Jacques Rancière's argument that the "aesthetic is the ability
to think contradiction." Would you elaborate on what you think best collaborative practices
exhibit (beyond those projects you describe in your article)?
CB: This is a complicated question. I would like to argue that the best collaborative practices need
to be thought of in terms other than their ameliorative consequences; they should also question the
very terms of these ameliorative assumptions. My view is inevitably influenced by living in the
U.K., where New Labour have for the last nine years instrumentalised art to fulfill policies of
social inclusion – a cost-effective way of justifying public spending on the arts while diverting
attention away from the structural causes of decreased social participation, which are political and
economic (welfare, transport, education, healthcare, etc). In this context it is crucial for art
practices to tread a careful line between social intervention and autonomy, since
demonstrable outcomes are rapidly co-opted by the state. Temporary Services once asked me
which was worse: to be instrumentalised by the state or by the art market. I'm afraid I think it's
the former.
I am also wary of the idea that there is a privileged medium for works of art. The mere fact of
being collaborative, or participatory, or interactive, is not enough to legitimise a work or
guarantee its significance. It is more important to observe how it addresses – and intervenes in –
the dominant conventions and relations of its time. If we look at the proliferation of collaborative
art practices today, it seems that many no longer have the oppositional and anti-authoritarian
punch they had in the late 1960s and 1970s – when radical theatre, community arts and critical
pedagogy emerged in opposition to dominant modes of social control. Today participation is used
by business as a tool for improving efficiency and workforce morale; it is all-pervasive in the
mass-media in the form of reality television; and it is a privileged medium for government
funding agencies seeking to create the impression of social inclusion. Collaborative practices need
to take this knot of conventions on board if they are to have critical bite.
JR: What do you think the heightened critical discourse you're advocating requires from the
artist(s) engaged in socially collaborative art? From the communities considering socially
engaged art or participating in it?
CB: It requires intelligence and imagination and risk and pleasure and generosity, both from the
artists and the participants. For a while I have been tempted to write an article that pushes the
ethical question a bit further, from a Lacanian angle. It would argue that the best socially
collaborative art does not derive from a superegoic injunction to "love thy neighbour," but from
the position of "do not give up on your desire." In other words, pursue your unconscious desire, as
far as you can. The former (eg Grace in "Dogville") involves a sacrificial stance: it is the
politically correct position of doing what seems right in the eyes of others. The logic of the latter
is about taking responsibility for your own desire, rather than acting out of guilt (for example,
about being an artist). In Seminar VII Lacan draws a link between this ethical position and the
beautiful. I haven't written this article as I'm not convinced of its ability to tell us much about
contemporary art. But has guided my reading of certain works – by Collins, Zmijewski, Althamer,
JR: You talk in your article quite a bit about the role that the artist's "authorial status" plays in
socially engaged art. Would you explain what you mean by "authorial status" and why you
consider it so significant to socially engaged art?
CB: By "authorial status" I simply mean an original and distinctive voice. I have found that
socially engaged projects are on the whole rather formulaic and predictable, placing greater
emphasis on the participants' creativity than on rethinking the conventions of participation,
which are today somewhat orthodox. There is a common belief that reduced authorial status is
more "democratic" and "ethical" than an artist imposing their vision or will on a group of
participants. I think we can question all of these assumptions. Overturning the very premises from
which social engagement operates can be both artistically and critically invigorating.
JR: Your article stimulated a lot of conversation. One discussion on the Web, in LeisureArts blog,
raised a compelling point. The writer said:
I think (Bishop) misses something very important … namely that many of these practices might
be better served by not considering them via art critical methodologies at all. There are a number
of forms of cultural production that might call for new theoretical tools to interpret properly … I
suspect there are many people operating in the domain of art discourse because they have
nowhere else to go, even though their interest in connections to an art historical lineage is
ancillary at best.
What do you think of this?
CB: I completely agree that turning to other disciplines can help to sharpen our mode of
discussion about works of art, particularly those that step into the social arena. Political
philosophy and psychoanalysis have helped me to articulate my reservations about the political
claims made for relational aesthetics. I am currently looking at sociology as a way to be more
precise about the idea of "inclusion" and "participation" in socially engaged art. The task is to
bind these ideas together in a discussion of the work's overall meaning as art.
But what this quote implies – and which I resist very strongly – is the idea that art is the "last
place" to go for engagement, that it is the only remaining "free space." This idea is dangerous and
lazy. It signals a retreat from the political, rather than the invention and assertion of new
territories. It is fine for socially engaged and activist work to operate within the domain of art
discourse, providing it also contributes something to that discourse (which actually does have an
art historical lineage – think of Situationism, Joseph Beuys, Group Material…). It is comparable
to a practice-led PhD: the practical work and the theoretical text both have to be PhD standard,
equally important contributions to the field. But if the claims for transdisciplinarity are to be taken
seriously, then these projects should also function within other discourses too. The situation I
would want to avoid is of inconsequential practices that make no impact on either field.
JR: Why does your argument require that the ethical evaluation of socially engaged art be
described as Christian? What does that mean for collaborative work arising out of cultures that are
not historically Christian?
CB: The argument doesn't require that the ethical evaluation of socially engaged art be described
as Christian – this is simply my cultural reference point for a self-sacrificial position, especially
one performed for the eyes of the big Other. This is not to denigrate Christianity per se – there are
many things worth salvaging in that tradition, as Zizek has argued. What interests me is his
critique of contemporary ethico-political responsibility as a form of ideological absolution: it
saves us from having to take on board an "ethics of the Real," in which we are responsible for our
own actions and the potentially traumatic consequences of these actions.
In terms of collaborative work arising from other cultures: this is complicated, and I certainly
considered it before using Oda Projesi as a case study. But eventually the focus of my article was
the discourse that presently surrounds this work in the West; regardless of where the artist comes
from, the work (especially if it circulates here) can still be subject to critical analysis. This
doesn't mean ignoring the cultural context, just being alert to the way in which a reading
overdetermined by this can swiftly become an excuse for not thinking through what it
means for yourself. I hear these excuses all the time – not in relation to religion, admittedly – but
as a form of positive discrimination in which the artist's culture/identity is more important than
what we encounter.
JR: We caught up with you while you were traveling in Thailand to visit The Land Foundation in
Chiang Mai. What piqued your interest in visiting them at this time? What did you learn?
CB: I am immensely grateful to the Leverhulme Trust for a research grant. I decided it would be
useful to visit the 'spiritual home' of relational art, Thailand. The Land in Chiang Mai is one of
the most frequently cited examples of a socially engaged 'relational' project, and almost all
accounts of it are written by curators (Obrist, Birnbaum, etc). I spent four days in and around The
Land Foundation, talking to its co-founder, the artist Kamin Lerdchaiprasert, and to Uthit
Athimana, Professor of Media Art Design at Chiang Mai University (on the board of the
Foundation). My day with Uthit made the whole trip worthwhile as I learnt about Chiang Mai
Social Installation: a series of impromptu and participatory performance and live installation
festivals in Chiang Mai during the 1990s. These began without knowledge of Rirkrit Tiravanija's
work (he didn't return to Thailand until 1996), and yet there are clear overlaps.
The Land itself is quite small: a functioning farm allotment-cum-architectural park located a 40-
minute drive outside the city. The map to find it is elaborate – like the instructions to reach Spiral
Jetty or Double Negative. It is extremely peaceful, and the pavilions are attractively modest.
Several things about the project surprised me.
Firstly, the way in which entropy has already taken hold of The Land: Tobias Rehberger's
pavilion was made with Swedish wood for a show at the Moderna Museet, and is now rotting in
the tropical climate. Philippe Parreno's Battery House, which is supposed to generate its own
electricity through an "elephant plug," has never worked. (For Parreno's film "The Boy From
Mars" (2005), the building was lit artificially and a water buffalo "performed" the role originally
intended for an elephant.) The building was supposed to fulfil Kamin's request for a meditation
hall, but the concrete floor is curved, and punctuated by many struts, and cannot be used for this
purpose. The ratio of water to land on the farm is organised according to the principles of a
Buddhist agriculturalist, Chaloui Kaewkong, but this too isn't really working: the water is
stagnant rather than flowing. Ironically, all these "failures" really endeared the project to me.
Secondly, that the only people who live on the site full-time are peasant farmers, who keep the
premises ticking over. The bulk of the Foundation's activities take place in a group of buildings
on the edge of the city, in a leafy district called Umong. There is an exhibition space/yoga hall
with two offices, a meditation hall, a guest house, and a house with an open kitchen. Rirkrit is
building a house on the adjacent plot. Several young people live and work on site, answering the
phone and dealing with enquiries. Just after I arrived some of them also accompanied Kamin on
an agricultural research trip to the north of Thailand. The week after I left, a group of Singaporean
street artists were coming to stay. Umong is the hub of social activities, in contrast to which The
Land itself is rather static.
Thirdly, that The Land is the result of conflicting ideas. For Kamin it is essentially a spiritual
project. He wants to create an experimental living situation that will help him understand his
place in the world, one that will hopefully be good for other people too. He is drawn to an ideal of
self-sufficiency (inspired by Chaloui Kaewkong). Rirkrit, I understand, is more interested in an
experimental project that fuses art and the social; he is less interested in the spiritual dimension
and more open to the possibility of buildings not functioning. Uthit is more sceptical, and has
numerous reservations about the project. For example, he thinks that the engagement with
experimental agriculture could be pushed much further (by collaborating with the agriculture
department at the University, for instance), and that the Foundation should be more open about
PR – in other words, that the rhetoric should be more adequate to the reality. The three are old
friends, and it is clear that they have a constructive dialogue in which these differences can
surface.
JR: What are you working on next?
CB: I've just finished editing a reader of key texts on participation in art since the late 1950s,
which will be published in September. I've also been trying to order all my thoughts on the
problem of socially engaged art into a book, but I'm struggling and still feel light years away from
a coherent argument. My research fellowship ends in September and then I begin a new job as
History of Art lecturer at Warwick University.
Jennifer Roche is an independent writer based in Chicago and a contributor to Community Arts
Network. [JenniferRoche (at) yahoo.com]
Claire Bishop is Leverhulme Research Fellow in the department of Curating Contemporary Art at
the Royal College of Art, London. She is the author of Installation Art: A Critical History (Tate
Publishing, 2005), "Antagonism and Relational Aesthetics" (October no.110, 2004), and the
edited anthology Documents of Contemporary Art: Participation (Whitechapel/MIT Press, 2006).
She is a regular contributor to Artforum.
Artforum plans to post Claire Bishop's essay, "The Social Turn: Collaboration and its
Discontents" (February 2006), on its Web site: http://www.artforum.com.
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Home / World Marijuana News / Bitcoin May Revolutionize the Legal Marijuana Industry
Bitcoin May Revolutionize the Legal Marijuana Industry
Banks still don't want to work with legally operating marijuana businesses because marijuana is still federally illegal. But cryptocurrencies, such as bitcoin, can solve transaction issues for marijuana businesses. The digital currency helps prevent these businesses from having large amounts of cash on-hand.
In 2016, the legal marijuana industry was valued at $6 billion, according to Bloomberg. By 2026, the industry could be worth around $50 billion. Bitcoin services like POSaBIT and SinglePoint Inc. are helping marijuana users use this digital currency to purchase recreational and medical marijuana.
John Baugher, co-founder of POSaBIT, said, "There's no industry – whether it's the production and sale of cannabis or the production and sale of a cup of coffee – that can operate safely, transparently or effectively without access to banks or other financial institutions and traditional services. That's where we thought we could leverage the use of digital currency."
POSaBIT is in use by 30 different dispensaries across Washington State. One of POSaBIT's customers, Trove Cannabis, recorded $3 million in marijuana sales last year, all done in cash. That averages to about 3,000 individual transactions weekly. Trove Cannabis was on a wait-list to use POSaBIT for six months.
In February, POSaBIT services were made available and since then, 13-percent of the business' customers have chosen to use bitcoin.
When customers make a purchase, they're asked if they'd like to pay with cash or digital currency. If digital currency is preferred, the customer is referred to the POSaBIT kiosk (which charges a $2 transaction fee), to purchase bitcoin to complete their purchase. Once transactions are completed, POSaBIT sends the funds in U.S. currency to the dispensary's bank account.
To maintain compliance, POSaBIT follows these guidelines:
Limit of $150 of bitcoin purchased per transaction
9-point fraud detection program
Bank account is required for the business
Neil Demers, a marijuana business owner in Denver, said, "I'm sure education could enlighten me and a lot of this industry on bitcoin being a feasible payment option, but we just don't see it."
Some industry experts, like Jeffrey Zucker of Green Lion Partners, believe that traditional banking options should be available before bitcoin really gets its footing in the industry.
Zucker said, "The banking issues are going to be solved in such time that the people in this industry are going to gravitate toward traditional banking."
Greg Lambrecht of SinglePoint said, "It's not foreign to them now, like some sort of weird scam that they don't know about. More and more establishments are accepting it, but it's kind of like the wild, wild west."
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Which parent gets the extra vote? Kinsley's proposal is modest, so to speak.
From a cynical, strategic, political point of view - the possibility of explicit repudiation of retiree debt is an issue worth considering.
Right now, the GOP suffers from a demographic problem - their "base" consists mainly of older white voters; a demographic that is politically powerful due to a propensity to actually vote, but one which is slowly dying off. But what if, at some point, the GOP (or the Dems for that matter) were to replace the culture wars with generational warfare as their political cudgel - openly advocating repudiation of pension debt as a means of deficit-reduction-without-tax-increases? We've already seen Alan Simpson making snide remarks about the "greediest generation"; but most of the GOP establishment still panders to the elderly with dire warnings about "death panels" and such, hoping Obama will be the one to touch the third rail of US politics.
But as time passes and the Baby Boomers start to die and more Millennials come of age, I could see such lines of argument ("Grandpa didn't prepare for his own retirement - why should we pay for it?") becoming part of the political mainstream. We could easily see the social contract which underlies Social Security unravel, with both sides pointing fingers of blame at each other. And some really nasty demagogues (ones that make the brainless Sarah Palin look tame) could show up at any time to ride the strife to political power.


Lonnie Harris is currently in his twentieth year at Cisco Systems, Inc. in RTP, NC, where he serves as a Cyber Security Architect and Talent Development for Cisco's Security and Trust Organization. Lonnie received his B.S. and M.S. in Electrical Engineering from North Carolina Agricultural and Technical State University.
In January, 2017, Cisco Systems became the first company to sponsor an Engineer in Residence with the College of Engineering at North Carolina Agricultural and Technical State University in Greensboro, NC. Through this initiative Lonnie has taught Cisco Networking Academy Security Courses.
Lonnie serves in his community as a youth both baseball and robotics coach.
In reality, there are a broad variety of job roles associated with cyber, and some common traits among people who do well at filling them.