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Q: How to get the position of cardView item in recyclerView? I created one adapter class for recycler for populating cardview layout in recyclerview. It is working fine, but when i click cardView item in recyclerview i need to get position of that cardview item , based on that i need to write a Intent activity. Along with how to delete that cardview item when i swipe left to right.
MyAdapter class.
public class MyAdapter extends RecyclerView.Adapter<MyAdapter.ViewHolder> {
    private NavigationItem[] navigationItem;
    private Context mContext;

    public MyAdapter(NavigationItem[] navigationItem) {
        this.navigationItem = navigationItem;
    }

    @Override
    public MyAdapter.ViewHolder onCreateViewHolder(ViewGroup parent, int viewType) {
        View itemLayoutView = LayoutInflater.from(parent.getContext())
                .inflate(R.layout.navigation_row_cardview, null);
        ViewHolder viewHolder = new ViewHolder(itemLayoutView);
        return viewHolder;
    }

    @Override
    public void onBindViewHolder(MyAdapter.ViewHolder holder, int position) {
        holder.txtViewTitle.setText(navigationItem[position].getTitle());
    }

    @Override
    public int getItemCount() {
        return navigationItem.length;
    }

    public class ViewHolder extends RecyclerView.ViewHolder {
        @InjectView(R.id.hambergerRecyclerView)
        public RelativeLayout recyclerView;
        public TextView txtViewTitle;

        public ViewHolder(final View itemLayoutView) {
            super(itemLayoutView);
            ButterKnife.inject(this, itemLayoutView);
            txtViewTitle = (TextView) itemLayoutView.findViewById(R.id.navigationItemOptionName);

            itemLayoutView.setOnClickListener(new View.OnClickListener() {
                @Override
                public void onClick(View view) {
                    // int itemPosition = RecyclerView.getChildPosition(view);
                    int itemPosition = recyclerView.getChildAdapterPosition(view);
                    String item = navigationItem.get(itemPosition);
                    Toast.makeText(mContext, item, Toast.LENGTH_LONG).show();
                }
            });
        }
    }
}

A: Implement onClick in onBindViewHolder, then you will get position.

A: Update your viewholder like this
public class ViewHolder extends RecyclerView.ViewHolder {
    @InjectView(R.id.hambergerRecyclerView)
    public RelativeLayout recyclerView;
    public TextView txtViewTitle;
    public ViewHolder(final View itemLayoutView) {
        super(itemLayoutView);
        ButterKnife.inject(this, itemLayoutView);
        txtViewTitle = (TextView) itemLayoutView.findViewById(R.id.navigationItemOptionName);

        itemLayoutView.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View view) {
               //int itemPosition = RecyclerView.getChildPosition(view);
                int itemPosition=getAdapterPosition();
                String item = navigationItem.get(itemPosition);
                Toast.makeText(mContext, item, Toast.LENGTH_LONG).show();
            }
        });
    }

}

A: Short Answer

*

*Getting the position of CardView item

when i click cardView item in recyclerview i need to get position of
  that cardview item

use setTag() in the onBindViewHolder method of your adapter and getTag() in your OnClickListener implementation.
you can also use getAdapterPosition() - see https://stackoverflow.com/a/27886776/4658957
EDIT: as mentioned in the comments if you need to implement swipes, use the getAdapterPosition() method instead - this makes sure that the positions are not off.

*Launching an activity

based on that i need to write a Intent activity

create and start a new Intent in your OnClickListener implementation
Intent newIntent = new Intent(this, YourNewActivity.class);
startActivity(newIntent);

Long Answer
How to get the position of a CardView item in the RecyclerView list?

when i click cardView item in recyclerview i need to get position of
  that cardview item

I used the setTag() and getTag() methods of View.
 You can also use getAdapterPosition - see https://stackoverflow.com/a/27886776/4658957
The View can be a TextView, ImageView, CardView, even a View (which could contain text views, image views and so forth) - basically ok if it inherits from the View Object.

*

*first, look at the onCreateViewHolder method below. layoutInflater inflates the views in my XML layout file item_view.xml. Any views in that layout file will be accessible in the constructor.
@Override
public myViewHolder onCreateViewHolder(ViewGroup parentViewGroup, int i) {
    ...

    View itemView = layoutInflater.inflate(R.layout.item_view, parentViewGroup, false);
    return new myViewHolder(itemView);
}

*define a constant for your View object such as mView and set it to the View you wish to set the onClickListener to / get the position from.
private class myViewHolder extends RecyclerView.ViewHolder {
    public View mView;

    public myViewHolder(View view) {
        super(view);
        mView = view;
    }
}

In the previous case, I set mView to the parent View.
If you want to access a specific View from the item_view.xml layout file inflated in onCreateViewHolder -- define another constant, set it using view.findViewbyId() and do not forget to cast the View (see below).
private class myViewHolder extends RecyclerView.ViewHolder {
    public CardView mCardView;

    public myViewHolder(View view) {
        super(view);
        mCardView = (CardView) view.findViewById(R.id.card_view);
    }
}

*use setTag() in the onBindViewHolder method of your adapter class. Each CardView now has its position in the RecyclerView list as a tag.
@Override
public void onBindViewHolder(myViewHolder viewHolder, int position) {
    viewHolder.mCardView.setTag(position);
}

*use getTag() to access the position of each CardView in your RecyclerView list: we have 2 ways for this (in Activity or in XML).
set onClickListener in your ViewHolder constructor (do not forget to implement  View.OnClickListener) and edit the onClick method
private class myViewHolder extends RecyclerView.ViewHolder implements View.OnClickListener {
           public View mCardView;

           public myViewHolder(View view) {
               super(view);
               mCardView = (CardView) view.findViewById(R.id.card_view);

               mCardView.setOnClickListener(this);
           }
       }

@Override
public void onClick(View view) {
    int position = (int) view.getTag();
    Toast.makeText(view.getContext(),Integer.toString(position),Toast.LENGTH_SHORT).show();
}

OR set the onClick attribute in your XML layout for CardView android:onClick="positionAction"
<android.support.v7.widget.CardView
    android:id="@+id/card_view"
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:onClick="positionAction">

</android.support.v7.widget.CardView>

and create a method in the activity that contains the recycler view.
public void positionAction(View view) {
    int position = (int) view.getTag();
    Toast.makeText(view.getContext(),Integer.toString(position),Toast.LENGTH_SHORT).show();
}

For both options above, you can use String position = "Position " + view.getTag.toString(); instead of int position = (int) view.getTag; if you want to obtain the position as a String.
Note 1: You can only use getTag() on View objects whose setTag() method has been called (or else you will get a NullPointerException).
Note 2: I did not use a key for the setTag() and getTag() methods, which you could have done if you are setting several tags for each View.
How to start an activity based on the CardView clicked?

based on that i need to write a Intent activity

To start a new activity based on the CardView item the user clicks on, add the two lines below in the onClick method or in the positionAction method (based on the one you chose to use).
Intent newIntent = new Intent(this, YourNewActivity.class);
startActivity(newIntent);

If you want to pass an object from one activity to the other, use
Intent newIntent = new Intent(this, YourNewActivity.class);
newIntent.putExtra("Item Object", itemList.get(position));
startActivity(newIntent);

and in the new activity (YourNewActivity class) :
itemReceived = new Item();
itemReceived = (Item) getIntent().getSerializableExtra("Item Object");

where itemList is an ArrayList of Item() objects.
References:  StackOverflow | Tuts+

A: You can try passing position to ViewHolder from onBindViewHolder
@Override
public void onBindViewHolder(MyAdapter.ViewHolder holder, int position) {
    holder.txtViewTitle.setText(navigationItem[position].getTitle());
    //set position to holder
    holder.position = position;
}

public class ViewHolder extends RecyclerView.ViewHolder {
        @InjectView(R.id.hambergerRecyclerView)
        public RelativeLayout recyclerView;
        public TextView txtViewTitle;
        //have a position field in view holder
        public int position;

        public ViewHolder(final View itemLayoutView) {
            super(itemLayoutView);
            ButterKnife.inject(this, itemLayoutView);
            txtViewTitle = (TextView) itemLayoutView.findViewById(R.id.navigationItemOptionName);

            itemLayoutView.setOnClickListener(new View.OnClickListener() {
                @Override
                public void onClick(View view) {
                    // int itemPosition = RecyclerView.getChildPosition(view);
                    int itemPosition = position;
                    String item = navigationItem.get(itemPosition);
                    Toast.makeText(mContext, item, Toast.LENGTH_LONG).show();
                }
            });
        }
}

A: Try this on your onBindViewHolder in adapter
myViewHolder1.itemView.setTag(new Integer(position));

and get like this on your OnClickListener:
Integer pos;
pos = (Integer) view.getTag();


text:
Bach: Inventions; Sinfonia; Duets
Label: RCA Red Seal
Invention No. 1 in C Major, BWV 772
Invention No. 2 in C Minor, BWV 773
Invention No. 3 in D Major, BWV 774
Invention No. 4 in D Minor, BWV 775
Invention No. 5 in E-Flat Major, BWV 776
Invention No. 6 in E Major, BWV 777
Invention No. 7 in E Minor, BWV 778
Invention No. 8 in F Major, BWV 779
Invention No. 9 in F Minor, BWV 780
Invention NO. 10 in G Major, BWV 781
Invention No. 11 in G Minor, BWV 782
Invention No. 12 in A Major, BWV 783
Invention No. 13 in A Minor, BWV 784
Invention No. 14 in B-Flat Major, BWV 785
Invention No. 15 in B Minor, BWV 786
Sinfonia No. 1 in C Major, BWV 787
Sinfonia No. 2 in C Minor, BWV 788
Sinfonia No. 3 in D Major, BWV 789
Sinfonia No. 4 in D Minor, BWV 790
Sinfonia No. 5 in E-Flat Major, BWV 791
Sinfonia No. 6 in E Major, BWV 792
Sinfonia No. 7 in E Minor, BWV 793
Sinfonia No. 8 in F Major, BWV 794
Sinfonia No. 9 in F Minor, BWV 795
Sinfonia No. 10 in G Major, BWV 796
Sinfonia No. 11 in G Minor, BWV 797
Sinfonia No. 12 in A Major, BWV 798
Sinfonia No. 13 in A Minor, BWV 799
Sinfonia No. 14 in B-Flat Major, BWV 800
Sinfonia No. 15 in B Minor, BWV 801
Duet No. 1 in E Minor, BWV 802
Duet No. 2 in F Major, BWV 803
Duet No. 3 in G Major, BWV 804
Duet No. 4 in A Minor, BWV 805
Derniers albums de Johann Sebastian Bach
BACH, J.S.: Cantatas - BWV 54, 56, 82 (Thomas)
BACH, J.S.: Cantatas - BWV 51, 59, 243 /...
BACH, J.S.: Cantatas - BWV 71, 111, 140 (Thomas)
La noce d'Arthémise (Mono Version)

redpajama_set_name: RedPajamaCommonCrawl


The goal is Peace, so one must go after something positive through a regimen. This regimen will not show us any type of violence. On the contrary, we also have the option to show something negative in order to create a positive in the audience. As for me, I am inclined to not use any negative elements. I chose to show peace from within. This takes me to the abstract concept of tolerance. Peace begins within oneself. If you carry it (peace), then you will spread it and will impact in a positive way. In this way, a chain of peace carriers will be created. So from something small, just like we(humans) are, we can create something immense which will take over if the message was shared and understood correctly. This is why the human figure has no face, so that the audience can see it and identify themselves and imagine their face in it.


text:
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How Major Job Search Sites Are Using AI in Recruitment
By Stuart Rauch
Last updated on Mar 6, 20221475
Whether you're looking for a new job, or you're being sought out by a recruiter to fill an exciting open position, odds are AI is highly influencing the decision-making process. AI helps determine what job opportunities you see on LinkedIn or other job platforms, and it helps recruiting teams streamline everything from posting positions, evaluating candidates, matching skills to jobs, and even interviewing. And it does it lightning fast: what used to take days or weeks for human recruiters now can be performed by AI in a matter of seconds.
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Many students supplement their income with part-time work.
The LSE Careers Service provides details to registered students about part-time work opportunities both within the LSE and more generally within London, via the LSECareerHub. The Students' Union also employs a small number of students. However, as demand for part-time work significantly outstrips the supply of job opportunities available through the School, you may also need to search independently for part-time work which fits in with your academic commitments.
You need to be realistic about the amount of money you can earn through part-time work since the School will be unable to provide financial support if you overestimate your income from employment.
The minimum wage for people aged 18-20 is currently £4.98 per hour. The minimum wage for people aged 21 and over is currently £6.08.
The School is aware that many students face varying degrees of financial pressures which make it necessary for them to undertake part-time work while studying full-time. The School is also of the view that students must devote enough time to the academic demands of their programme. They are expected to produce regular coursework and prepare for classes/seminars, as well as studying for examinations.
Each student is responsible for setting her/his own balance between part-time employment and academic coursework. Recent research suggests that an excessive amount of part-time work can have a detrimental effect on academic performance.
Therefore, the School recommends that full-time students work no more than 20 hours per week during term time, and, if at all possible, fewer than 15 hours. The School's examination boards will not normally consider as mitigating circumstances the negative impact that part-time work may have had on a student's performance in examinations or assessed coursework.
Anyone studying at the LSE on a student visa is normally permitted to work up to 20 hours a week during the term and any number of hours during vacations. You should check the terms and conditions of your visa before undertaking paid work and review the ISIS advice for overseas students about working during your studies.
The rules for international students regarding working after your studies can change. ISIS offers up-to-date immigration advice on working after your studies.
The Directgov website offers useful information about paying tax when working while you study. This information applies if you are a foreign student working in the UK. Also visit the LSE Careers guidance on part-time work and the Students' Union website about tax and national insurance.
Please note that LSE cannot be held responsible for the content of external websites.


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This product is no longer available. Check out top picks for more great tools.
Review by Dana Villamagna, Common Sense Education | Updated July 2013
Leo's Songs
Sweet songs tell kids to dream big, but no deep learning here
Subjects & skills
Character & SEL
Grades This grade range is based on learning appropriateness and doesn't take into account privacy. It's determined by Common Sense Education, not the product's publisher.
Pre-K–K
Common Sense says (See details)
Teachers say (1 Review)
Platforms: iPad, iPhone, iPod Touch
Pros: No bad news, just positive songs sung by happy characters.
Cons: Limited interactivity and a few typos.
Bottom Line: Kids will hear important messages about emotional development, but content and interactivity are lacking.
How Can I Teach with This Tool?
Is It Good for Learning?
If you're already using Leo's Pad: Preschool Kids Learning Series in your classroom, Leo's Songs may be a fun way for kids to soak in those appisodes' main messages that science, art, and invention are fueled by imagination, creativity, teamwork, and hard work. But be aware that although kids who already use that app will recognize some of the themes in the songs, they'll also find that items they see in the videos won't have the same interactivity they may be expecting. If you're planning to use the interactive series in your classroom but aren't yet, these four brief songs may be a good way to introduce your students to these historical characters, as well as to the idea that all famous scientists were once kids just like them!
Editor's Note: Leo's Songs is no longer available; however, the developers continue to update and expand their primary app, Leo's Pad: Preschool Learning Series.
Leo's Songs is an animated song app that includes four songs based on characters found in the interactive Leo's Pad: Preschool Learning Series app. The young Leonardo da Vinci, Marie Curie, and Galileo sing kid-friendly songs about following dreams, trying again, practicing to get better at skills, and using imagination to invent. Kids simply tap one of the four song icons on the main screen, then watch and listen. In "Follow Your Dreams," Leo sings to Gally about the dream of going into space, while in "Try Again," he sings about not giving up. Marie Curie encourages kids to practice in "Practice Makes Perfect," and Marie and Leo both sing on the song "You're an Inventor."
The app displays lyrics for kids to follow during the songs, but there are a few typos -- mostly relating to missing apostrophes.
These beautifully animated videos and fine songs are engaging and fun to watch. It's also encouraging to see a girl kid scientist, Marie Curie, represented here along with Leonardo da Vinci and Galileo. Leo's Songs can help kids learn some positive messages about not giving up, using your imagination, and the importance of practice -- concepts that are relevant in their lives. It would be nice to see more interactivity with the app -- and fewer typos.
Engagement Is the product stimulating, entertaining, and engrossing? Will kids want to return?
Cute kid versions of famous historic scientists create engaging, friendly characters. The well-designed animations in the videos are nice to watch and the songs are fine, but there are only four songs, and little interactivity.
Pedagogy Is learning content seamlessly baked-in, and do kids build conceptual understanding? Is the product adaptable and empowering? Will skills transfer?
Though the app doesn't go into much depth, kids learn by watching the four videos and absorbing the positive messages of perseverance, practice, imagination, and dreaming big.
Support Does the product take into account learners of varying abilities, skill levels, and learning styles? Does it address both struggling and advanced students?
The main page of the app encourages kids to extend play with the characters on the related Leo's Pad: Preschool Kids Learning Series app.
Common Sense Reviewer
Dana Villamagna Classroom teacher
About our ratings and privacy evaluation.
Featured review by
Denise W. , Classroom teacher
Cute animations and song message, however, very little educational content.
It is very cute and animated however it lacks educational content. The words are highlighted as the characters sing, however it is often done quickly and it is difficult for struggling students to keep up with. If the child is familiar with the songs from using the app "Leo's Pad" it is easier to keep them engaged. If it is used as a stand alone app the students find it boring after the first half of the song. It is basically 4 songs ( with words on the screen) that animated characters sing.
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Posts Tagged 'Arachnids in the UK'
Suzanne says … let's review Series 11
By Suzanne | 6th January 2019
In a few years time, when we look back at series 11, we will remember that it wasn't just any other Doctor Who series, but that it had quite a strong sociological impact on the fanbase. This is the reason why I wished to write a different kind of review for Series 11, one that would include…
Arachnids in the UK final ratings
By Louis | 6th November 2018
The final ratings for the fourth episode of Series 11, Arachnids in the UK, have been released. The episode had 8.22 million viewers after a week of catch-up on all devices, a rise of 1.79 million on the overnight figure of 6.43 million. That's a very moderate tick down from Rosa's 8.37 million. Stripping out mobile, tablet and computer views on BBC iPlayer, the 'traditional'…
The Gallifrey Times Team reviews Arachnids in the UK
By TGT | 31st October 2018
It's halloween. There's monsters loose around a hotel. Who you gonna call? Team TARDIS! This week saw the Doctor and her friends dealing with some oversized creepy crawlies, but what did our team make of Arachnids in the UK? Let's find out… Ben (Editor) Zoinks! Like Doctor Who, where are you?! A gang of protagonists running…
Arachnids in the UK overnight ratings
By Louis | 29th October 2018
The overnight UK viewing figures for last night's episode, Arachnids in the UK, have been released. The episode had 6.43 million viewers on average, a slight tick up from last week's figure of 6.39 million, and a clear indication that the season's ratings have stabilised following the premiere. As with last week, Doctor Who was second for the day behind Strictly…
What did you think of Arachnids in the UK?
Arachnids has just finished in the UK, and now we'd like you to share your thoughts with us on Jodie Whittaker's fourth episode in the poll below: What did you think of Arachnids in the UK? The poll will be open for a week, and we'll reveal the results on Monday 5 November, with The Ghost Monument and Rosa's final results…
Doctor Who: Arachnids in the UK – new preview clip
By Ben | 23rd October 2018
The BBC have released a preview clip for this Sunday's episode, Arachnids in the UK. The clip shows the Doctor dropping her new friends back on Earth. There are no real spoilers for the episode, so you can watch the clip here: [source]
Arachnids in the UK – preview trailer
By Ben | 21st October 2018
Following tonight's rather emotional historical, the BBC have released a preview trailer for next week's episode, Arachnids in the UK, in which the TARDIS team head back home to find some creepy crawlies: Arachnids in the UK airs next Sunday, 28th October, at 6.55pm on BBC One, and 9/8C on BBC America.
Series 11 Episodes 4, 5 & 6 titles & synopses revealed
Information is now coming in thick and fast about the subsequent episodes of Doctor Who Series 11. The BBC have released the titles for the three episodes following this Sunday's installment, compromising episodes four, five and six: Episode Four – Arachnids in the UK Something's happening with the spiders in this city. The Doctor, Yaz, Graham and…


CD45RB antigen (human). This antibody recognizes a siliadase-sensitive epitope expressed on most PBL.
Tissue, cells or virus corresponding to Human CD45RB.
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High-definition quality audio was initially developed to be a differentiator between different levels of quality headphones in the marketplace. Because there was not specific benchmark set to define HD audio, the term has moved to more for a marketing term than a technical spec.
Through scientific study, we've put together a team of experts to benchmark what is means to be HD quality. To help differentiate what is quality HD audio and what isn't, we developed an HD Quality UL Mark. Consumers can look for this mark to validate their purchase meets the requirements.
What type of testing do you do in the audio lab?
To test for HD quality, we conduct what we call an objective test. During this test, we place headphones on a dummy and torso. The head and torso system them measures the frequency emitted by the product.
But, we don't stop there. We take the testing a step further to conduct what we call a subjective test.
If you've ever tried on headphones at the store, you've probably noticed they sound different. Many headphones actually 'color' music, or what the music engineered produced to bring out certain sounds. One set of headphones may be better suited for rap music, while another may be better suited for classical.
Subjective testing helps manufacturers better understand the consumer's experience while using the headphones. To do this, we create a panel of 50 people and an industry professional. We have each participant complete a questionnaire of about 40-50 questions while listening different types of music. Then, we create a report for the manufacturer to show findings and what people think about the sound quality of the headphones.
One example of how a manufacturer may find this helpful is through achieving desired bit rates. Research has found that different bit rates and genres of music actually resonate within the body, which in turn releases adrenaline. When marketing headphones, some companies may find it beneficial to capitalize on that experience. Our subjective testing provides insight into how consumers perceive those experiences — how the music sounds, it makes them feel, etc.
How are you eliminating bias?
We found that people rate based on preference to music genre. To eliminate bias, about 10 of those 40-50 questions actually take into account preferences. Then, we use a variety of songs in each genre to test the headphones.


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Jon Krakauer's introduction, reads like a newspaper article, speaking to the author's journalistic background, but it also sounds like the start of a mystery novel. Krakauer's statement of the facts invites the reader to wonder: why does a wealthy young man wander into the wilderness alone and how does he come to die?
Asked by Outside magazine to cover the story, Jon Krakauer investigates McCandless' life and death. Krakauer gives a brief account of McCandless, reporting that he grew up in an affluent suburb of Washington D.C., where he was a star-student and elite athlete. After graduating with honors from Emory University in the summer of 1990, McCandless went off the grid by changing his name, donating the remainder of his college savings to charity, abandoning his car, giving up his possessions, and burning all the cash in his wallet.
Krakauer presents these facts to explain his fascination with McCandless and intrigue the reader further. Educated, affluent and talented, McCandless appears to have led a happy and fortunate life, with a promising future. That he gives up all his worldly possessions makes his disappearance and death even more puzzling, enticing Krakauer and the reader to continue investigating.
"Working on a tight deadline," Krakauer quickly publishes an article on McCandless's death in Outside magazine in January 1993. But intrigued by the boy's life, death, and travels, Krakauer continues to investigate the "convoluted path that led to his death," culminating this research into the book before the reader, Into the Wild.
Krakauer's prolonged investigation into McCandless's death, from article to full-length book, highlights the pursuit of ideals. Just as McCandless pursues an idyllic life in the wild, Krakauer goes in search of answers that will ideally explain McCandless's death.
Krakauer points out three major themes: the romantic appeal of the American wilderness, the risks of youthful reinvention, and tortured dynamics of family ties. Reoccurring, these themes shape Krakauer's thesis about McCandless' life and death.
Krakauer refuses to claim that he is an "impartial biographer" of McCandless, revealing that the boy's story "struck a personal note." While asserting his largely successful attempt at minimizing his "authorial presence," Krakauer warns the reader that he interrupts McCandless's story with narrative excerpts from his own youth.
Krakauer suggests that he is an unreliable narrator. By identifying with his subject, Krakauer undermines his objective journalistic training, creating a book that is not only a biography of McCandless's life, but also a memoir of Krakauer's own life.
Krakauer describes McCandless as an "extremely intense young man," whose "streak of stubborn idealism…did not readily mesh with modern existence." A devotee of Leo Tolstoy, McCandless emulated the Russian novelists' renunciation of wealth and privilege for a simple and morally rigorous life in poverty.
By characterizing McCandless as an idealistic young man suggests that McCandless's whole-hearted devotion is not sustainable, nor compatible with modern society. Yet by noting his connection to Leo Tolstoy, Krakauer indicates that McCandless is part of a tradition of such people, and that this sort of idealism can sometimes lead to greatness.
Like a detective, Krakauer indicates a motive for Chris' pursuit of the wild and suggests a theory for his death. Contrary to Chris' detractors, Krakauer believes that Chris actively pursued danger in life, but was undone by small and innocent mistakes, rather than arrogant ones. Put another way, Krakauer doesn't condemn McCandless as being a fool. He respects him.
Noting the great number of mail correspondences and opinions McCandless' story has generated—some readers believe he was noble and courageous, others assert that he was crazy, reckless and arrogant—Krakauer invites the reader "to form his or her own opinion," saying that his own convictions will soon be made apparent.
Krakauer's cover story elevates Chris' death to the national stage, setting off a heated debate about Chris' character that also compromises Krakauer's journalistic integrity. By disclosing his bias, but also engaging diverse opinions, Krakauer reestablishes his position as a consummate investigative reporter.
Campodonico, Christina. "Into the Wild Author's Note." LitCharts. LitCharts LLC, 11 Aug 2014. Web. 20 Apr 2019.
Campodonico, Christina. "Into the Wild Author's Note." LitCharts LLC, August 11, 2014. Retrieved April 20, 2019. https://www.litcharts.com/lit/into-the-wild/author-s-note.


text:
Pacific Northwest National Laboratory Skip to Main Content U.S. Department of Energy
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Jeffrey Taft
Jeff is the Chief Architect for Electric Grid Transformation at the Pacific Northwest National Laboratory. As a member of the Energy and Environment Directorate, he is responsible for development and articulation of large scale architecture for grid modernization, as well as support of many cross-cutting activities at the Laboratory, including the Future Power Grid Initiative, advanced computing, and the Control of Complex Systems Initiative. He began working in the grid modernization area in 2001 and has held smart grid chief architect roles with Cisco, Accenture, and IBM. Jeff formerly worked for Westinghouse and has participated in several key smart grid projects since he first began to develop sensor architectures and analytics for distribution grids, and then became involved in the larger issues of end-to-end grid integration and control. Jeff earned a PhD in Electrical Engineering from the University of Pittsburgh with a dual specialization in digital signal processing and digital control systems in 1986. He is a member of the IEEE Power and Energy Society, is an emeritus member of the GridWise Architecture Council and is the holder of 27 patents in control systems, signal processing, and grid modernization.
PNNL Publications
O'Neil R.S., A.S. Becker-Dippmann, and J.D. Taft. 2019. The Use of Embedded Electric Grid Storage for Resilience, Operational Flexibility, and Cyber-Security. PNNL-29414. Richland, WA: Pacific Northwest National Laboratory. The Use of Embedded Electric Grid Storage for Resilience, Operational Flexibility, and Cyber-Security
Taft J.D. 2018. Assessment of Existing Synchrophasor Networks Final Version 0.5. PNNL-27557. Richland, WA: Pacific Northwest National Laboratory. Assessment of Existing Synchrophasor Networks Final Version 0.5
Taft J.D. 2017. Electric Grid Market-Control Structure. PNNL-26753. Richland, WA: Pacific Northwest National Laboratory. Electric Grid Market-Control Structure
Taft J.D. 2017. Roles and Responsibilities for Distribution Grids; DER Sensing and Communication Networks. PNNL-26596. Richland, WA: Pacific Northwest National Laboratory. Roles and Responsibilities for Distribution Grids; DER Sensing and Communication Networks
Taft J.D., and R. Huang. 2017. Distribution Storage Networks. PNNL-26598. Richland, WA: Pacific Northwest National Laboratory. Distribution Storage Networks
Taft J.D. 2016. Advanced Networking Paradigms for High-DER Distribution Grids. PNNL-25475. Richland, WA: Pacific Northwest National Laboratory. Advanced Networking Paradigms for High-DER Distribution Grids
Taft J.D. 2016. Architectural Basis for Highly Distributed Transactive Power Grids: Frameworks, Networks, and Grid Codes. PNNL-25480. Richland, WA: Pacific Northwest National Laboratory. Architectural Basis for Highly Distributed Transactive Power Grids: Frameworks, Networks, and Grid Codes
Taft J.D. 2016. Comparative Architecture Analysis: Using Laminar Structure to Unify Multiple Grid Architectures. PNNL-26089. Richland, WA: Pacific Northwest National Laboratory. Comparative Architecture Analysis: Using Laminar Structure to Unify Multiple Grid Architectures
Taft J.D. 2016. Grid Architecture 2. PNL-24044 2. Richland, WA: Pacific Northwest National Laboratory. Grid Architecture 2
Taft J.D., and P. De Martini. 2016. Sensing and Measurement Architecture for Grid Modernization. PNNL-25249. Richland, WA: Pacific Northwest National Laboratory. Sensing and Measurement Architecture for Grid Modernization
De Martini P., and J.D. Taft. 2015. Value Creation Through Integrated Networks and Convergence. PNNL-24152. Richland, WA: Pacific Northwest National Laboratory. Value Creation Through Integrated Networks and Convergence
Taft J.D., and A.S. Becker-Dippmann. 2015. Grid Architecture. PNNL-24044. Richland, WA: Pacific Northwest National Laboratory. Grid Architecture
Taft J.D., and A.S. Becker-Dippmann. 2015. The Emerging Interdependence of the Electric Power Grid & Information and Communication Technology. PNNL-24643. Richland, WA: Pacific Northwest National Laboratory. The Emerging Interdependence of the Electric Power Grid & Information and Communication Technology
Taft J.D., P. De Martini, and L. Kristov. 2015. A Reference Model for Distribution Grid Control in the 21st Century. PNNL-24463. Richland, WA: Pacific Northwest National Laboratory. A Reference Model for Distribution Grid Control in the 21st Century.
Taft J.D., P. De Martini, and R. Geiger. 2014. Ultra-Large-Scale Power System Control and Coordination Architecture: A Strategic Framework for Integrating Advanced Grid Functionality. PNNL-23470. Richland, WA: Pacific Northwest National Laboratory. Ultra-Large-Scale Power System Control and Coordination Architecture: A Strategic Framework for Integrating Advanced Grid Functionality
A strategic framework for capturing value from data for electric utilities (Courtesy Cisco)
Data and analytics in a distributed grid framework (Courtesy Cisco)
Carbon Management and Fossil Energy
Electricity Infrastructure
Security & Privacy | Site Index | Contact PNNL
Last Update: January 2021 | Pacific Northwest National Laboratory


text:
Freeview Play now boasts over 20,000 hours of free on demand content
The news comes following the addition of My5 on Freeview Play devices, which launched in June. My5 joined BBC iPlayer, ITV Hub, All 4, UKTV Play, CBS Catchup Channels UK and Horror Bites on the Freeview Play line up.
Freeview Play has tonnes of the best TV that viewers love. But of course, viewers can also easily top up with extra services to curate their own perfect TV package, such as Amazon Prime which offers 22,600 hours and NOW TV which offers customers hundreds of box sets, movies, reality TV, ad-free kids content, as well as live sport events.
Launched in 2015, Freeview Play has now sold over 7 million devices, and boasts over 4 million users. Freeview Play makes it easy for viewers to find their favourite shows and discover new ones. Viewers can use the universal search functionality and browse a carousel of handpicked content recommendations from across the platform.
Owen Jenkinson, Marketing Director at Freeview commented To put 20,000 hours in perspective that's over two years of solidly watching TV, day and night. We're not sure anyone would want to do that, and while we don't advise it, isn't it great to have the option!'
freeview play
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LINK: http://www.arqiva.com/news/company/freeview-play-now-boasts-over-20000...
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19102 Benhams Road, Bristol, VA 24202 (MLS #67863) :: Highlands Realty, Inc.
MOVE-IN READY Mini Farm. This All Brick home has been renovated, has neutral colors, hardwood floors have been redone, everything freshly painted and ready for you to call home. 3 Br, 1.5 baths, replacement windows, Kitchen has cook top, wall oven and dishwasher. Nice Dining area off the kitchen and open to the Living Room. The living room is spacious and features a wood burning fireplace. Nice 2 car carport. Full, unfinished walk-out basement. A large yard and a nice field with over an acre that's fenced for livestock or horses and a 3 stall barn.
Listing provided courtesy of Angela Anderson of Countryside Realty Llc.


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Joshua Ray Walker
On his new album See You Next Time, Texas-bred singer/songwriter Joshua Ray Walker shares an imagined yet
truthful portrait of a broke down honky-tonk and the misfits who call it home: barflies and wannabe cowboys,
bleary-eyed dreamers and hopelessly lost souls. His third full-length in three years, the album marks the final
installment in a trilogy that originated with Walker's globally acclaimed 2019 debut Wish You Were Here and its
equally lauded follow-up Glad You Made It (the #5 entry on Rolling Stone's Best Country and Americana
Albums of 2020 list).
"The whole idea with the trilogy was to use the honky-tonk as a setting where all these different characters
could interact with each other," says Walker, who drew immense inspiration from the local dive bars he first
started sneaking into and gigging at as a teenager growing up in East Dallas. "In my mind, this album's taking
place on the night before the bar closes forever—the songs are just me taking snapshots of that world, and all
the moments that happen in it."
Like its predecessors, See You Next Time came to life at Audio Dallas Recording Studio with producer John
Pedigo and a first-rate lineup of musicians, including the likes of pedal-steel player Adam "Ditch" Kurtz and
rhythm guitarist Nathan Mongol Wells of Ottoman Turks (the country-punk outfit for which Walker sidelines
as lead guitarist). The album's immaculately crafted but timelessly vital sound provides a prime backdrop for
Walker's storytelling, an element that endlessly blurs the lines between fable-like fiction and personal
revelation. "I learned a long time ago that writing from a character's perspective lets me examine things about
myself without ever feeling too self-conscious about it," he points out. Closely informed by the tremendous
loss he's suffered in recent years, See You Next Time emerges as the most powerful work to date from an
extraordinarily gifted songwriter, imbued with equal parts weary pragmatism and the kind of unabashedly
romantic spirit that defies all cynicism.
On the album-opening "Dallas Lights," Walker presents a potent introduction to the vast and
sometimes-harrowing emotional terrain of See You Next Time. "I used to hang out in Lower Greenville, which
is a neighborhood in Dallas with a lot of homeless people," he says of the song's origins. "One of theguys
there knew someone who'd passed away and there was nobody to claim the body: no wife, no family, no
kinfolk at all. I was really struck by how terrible that was, and over the years it became a song about
hometown pride, and wanting to die where you lived." Anchored by the heartrending fiddle work of Heather
Stalling, "Dallas Lights" ultimately lends a bit of glory to that tragedy, its chorus lyrics unfolding as their own
resolute prayer ("Lord, don't bury me deep/Under the sycamore tree/Burn Me/Spread Me/Where the city
can be seen").
In its nuanced exploration of so many disparate moods—grief and celebration, sorrow and surrender—See
You Next Time takes an entirely unexpected turn on its lead single "Sexy After Dark." Fueled by a fiery horn
section, the wildly catchy track hits a brilliant balance of bravado, soul-stirring confession, and brutally
self-aware humor. "There's a deep history of sexy-crooner country songs played by dudes who were pretty
unsexy by all accounts but still had so much swagger," says Walker. "'Sexy After Dark' was my attempt at
writing a song like that, a fun song I'd want to crank up and party to. It all came back to wanting to really
push the boundaries of what I could do on this album."
In a stunning tonal shift, See You Next Time then delivers its most devastating moment, the intensely intimate
"Flash Paper." "My dad had a four-year battle with lung cancer and passed away in November, and before he
died he gave me a cigar box full of notes and cards and lots of random little things, like a ribbon from a
reading competition from when he was in elementary school," says Walker. "He also put in a flash drive with
a video he'd recorded, which he told me not to watch until Christmas. My dad was from East Texas and kind
of a good-old-boy type, and the video was really vulnerable for him. Some of it was similar to things he'd said
over the years, as he dealt with his illness and the two of us grew closer, but that song's mostly about me
wishing I'd heard more of those things while he was still here."
With its untethered textures and beautifully sprawling guitar tones, "Flash Paper" bears a mesmerizing quality
that magnifies its raw emotion. "That was definitely the hardest one for me to write on the album—I broke
down multiple times in the process," says Walker, whose voice slips into an achingly tender howl at the
chorus. The final track recorded for See You Next Time, it's also one of several songs that Walker penned in the
dead of night, while his home was undergoing massive reconstruction following the rupture of a hot-water
pipe. "Half my house was torn apart, and I was living at an extended-stay hotel, but I couldn't get any writing
done there," he says. "I didn't want to move back the recording sessions, so I ended up going back to my
house late at night and staying up for hours to finish some songs. I remember thinking at the time that it was
pretty depressing—writing at 4 a.m. in this torn-apart house with no furniture and no heat in the middle of
winter—but looking back, I think it's good that I was forced to be totally alone and just think."
Another profoundly heavy-hearted track, "Gas Station Roses" reveals the poetic sensibilities within Walker's
songwriting. "There's a double meaning to that song—it's partly referring to the roses you'd find in a gas
station around Valentine's, but it's also about how gas stations get away with selling crack pipes by hiding
them in those glass tubes with the origami flowers," he explains. Layered with bright piano melodies and
Pedigo's cascading banjo rolls, "Gas Station Roses" offers a clear-eyed meditation on the hardship of
addiction ("We're like gas station roses/You can wrap us however you'd like/If you prop us up in pretty
poses/We'll really catch the light"). "I grew up around a lot of kids who had parents with substance-abuse
issues, and in high school a lot of my friends got hooked on heroin," says Walker. "This song in particular is
about crack, but the overall story is addiction leading to a loss of innocence."
A working musician since the age of 13, Walker first began honing his lyrical talents after the death of his
beloved grandfather. "My granddad's the one who got me into music, and I wrote a song called 'Fondly' in
the parking lot of the hospital he was in," recalls Walker, who was 19 at the time. "Back then I was mostly
playing rock and punk and blues and metal, but I quickly realized that the songs I was writing were country
songs." Raised on bluegrass, he lists Texas legends like Guy Clark and Billy Joe Shaver among his essential
inspirations, but also notes the undeniable influence of country superstars like Alan Jackson and George Strait
("All those '90s country songs were so hook-driven, they really bored into my brain," he says). With the arrival
of Wish You Were Here (an album that spent 12 consecutive weeks on the Americana radio albums chart),
Walker won lavish praise from outlets like NPR Music and began opening for such artists as Colter Wall and
Charley Crockett, in addition to headlining tours in the U.S. and Europe. Hailed by No Depression as "an
album that outshines expectations for what country music can, and should, sound like," Glad You Made It
earned the admiration of leading critics like Ann Powers ("a new voice who really impressed me"), with its
singles featured on such coveted playlists as Spotify's Indigo and Tidal's Best of Country 2020. Over the years,
Walker has continually captivated crowds with his magnetic live show, a feat that finds him joined by
musicians like bassist Billy Bones and drummer Trey Pendergrass (both of whom played on See You Next
Time). "I'm really proud of the band on this record, and I'm also proud that I didn't just go out and get hired
guns from Nashville or Austin," Walker says. "They're guys I've played with for 10 or 15 years, and at this
point we're all like family."
True to that communal spirit, See You Next Time closes out on its sing-along-ready title track: a fitting end to
Walker's trilogy and its tribute to the fleeting, yet possibly life-changing, connection to be found at your
nearest honky-tonk. "There's not a lot of pretension at a honky-tonk, and there's much more interaction than
in other bars—you see a lot less people on their phones," says Walker. "We're there to talk to other humans,
put a song on the jukebox and dance with a stranger, get to know your bartender and tell them all your
problems. I really wanted to capture that feeling on this record—I want everyone to feel like they know all
these characters, and that they're somehow better understood because these songs exist."
Mar 14 Tuesday 7:00PM
Featuring Joshua Ray Walker, more to be announced...
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text:
Çayırpınar is een dorp in het Turkse district Çankırı en telt 183 inwoners .

Plaats in Turkije
Çankırı (district)

redpajama_set_name: RedPajamaWikipedia


Choice of chicken style served on romaine and iceberg lettuce with chopped smoked bacon, fresh diced tomatoes, grated cheddar cheese and choice of dressing.
Crisp romaine and iceberg lettuce with fresh, diced tomatoes, grated cheddar cheese and choice of dressing.
Our own sourdough breading recipe.
Our exclusive home style, all meat recipe.
Seven spicy, breaded chicken wings served in choice of style with choice of wing sauce.
Grilled chicken breast with smoked bacon, iceberg lettuce, fresh tomato and mayonnaise on triple-decker sourdough bread.
Grilled chicken breast, iceberg lettuce, fresh tomato and mayonnaise on a grilled bun.
Grilled farm-raised chicken breast,wisconsin cheddar cheese,thick-cut applewood smoked bacon,crispy onion rings & tangy BBQ sauce on the grilled sourdough bread.
Shredded iceberg lettuce, tomato, chopped onions, relish, pickle, mustard and mayonnaise. 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Cheddar cheese, iceberg lettuce, white onion, pickles, mayonnaise and our signature "red red sauce" (chili ketchup with a kick). 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Swiss cheese, grilled mushrooms, grilled onions and mayonnaise. 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Smoked bacon, cheddar cheese, iceberg lettuce, fresh tomato, white onion and special sauce. 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Our classic cheeseburger includes cheddar cheese, iceberg lettuce, fresh tomato, white onion and special sauce. 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Smoked bacon, crispy sourdough onion rings, cheddar cheese and our special recipe "Smoke House" barbecue-ranch sauce. 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Jalapenos, pepper Jack cheese, iceberg lettuce, fresh tomato and our spicy sauce. 1/3 lb. of 100% fresh, never frozen, all-natural beef, seasoned and made to order. Served with choice of side.
Hamburger patty, grilled onions and American and cheddar cheese on grilled sourdough bread. Served with choice of side.
White albacore tuna salad, made fresh daily, with melted cheddar cheese and grilled on choice of bread. Served with choice of side.
Four slices of choice of cheese on choice of bread. Served with choice of side.
Grilled chicken breast, cheddar cheese, smoked bacon, our crispy onion rings and tangy barbecue sauce on grilled sourdough bread. Served with choice of side.
Thinly sliced sirloin steak, grilled to perfection and topped with grilled onions and choice of cheese. Served on an authentic hearth baked amoroso roll. Served with choice of side.
Sliced, grilled all-white meat chicken, topped with grilled onions, choice of cheese and served on an authentic hearth-baked Amoroso roll. Served with choice of side.
Three lightly breaded, crispy chicken tenders with choice of dipping sauce. Served with American fries and choice of beverage.
Two all beef mini hot dogs served with ketchup and mustard. Served with American fries and choice of beverage.
Choice of cheese served on white bread. Served with American fries and choice of beverage.
All-beef hot dog, served with choice of topping.
All-beef hot dog with our exclusive home style, all-meat chili, chopped onions and grated cheddar.
White albacore tuna salad with iceberg lettuce and mayonnaise on choice of bread.
A single scoop of our premium vanilla ice cream.
A decadent blend of gourmet chocolate goodness. Our perfect brownie with a scoop of our premium vanilla ice cream, hot fudge and whipped cream.
Two scoops of our premium vanilla ice cream with choice of sauce, almonds and whipped cream.


Lewis, P. & M. Lynch Campanulas: a gardener's guide. 1998 (Campanula Gard Guide) 142.
National Germplasm Resources Laboratory, Beltsville, Maryland. URL: https://npgsweb.ars-grin.gov/gringlobal/taxonomydetail.aspx?id=428074. Accessed 22 April 2019.


text:
Q:  vs  Just out of curiosity, between <applet> vs <object> for a Java applet, which one should I use? I know that <applet> is deprecated, however Sun still recommends the use of <applet>.
Is there any drawback between the two tags? Because when I use <object> for Mac in Safari, it causes a problem saying that the page can't load, even though the page loaded properly, and when I check the activity window it said that the class was not found/cancelled. For example:

A: Use applet if you have found that it works more often. The object element was introduced as a theoretical unification that would be a catch-all for any embedding of external data. It never worked well, and modern HTML development has effectively abandoned the unification idea. HTML5 introduces audio and video, for example and keeps img (logical unification would surely deprecate img, because an image can be embedded with object).

A: Use deployJava.js as mentioned in the applet info. page..

..To avoid browser compatibility issues, the Deployment Toolkit script provides JavaScript functions that automatically generate the HTML required to deploy RIAs. Developers should invoke these functions to deploy their solutions in a consistent fashion across various browsers.

Then you don't have worry about whether the script writes an applet, object or embed element.

As an aside.  Copy/pasting the text from the Activity window would be a lot more useful than a screen-shot.  Now I look (squint) at it, it seems the only two lines of output that are in any way relevant are:

*

*http://admin.file-lift.com/css/none not found

*http://admin.file-lift.com/com.pspinc.util.FileUploaderApplet.class cancelled
The css/none is not a class or a Jar, and neither of them exist on the server.  So that applet has problems beyond the HTML elements used to deploy it.

A: Use <object>. <applet> was deprecated back in HTML 4.01.
Unless you're targeting a stone-age environment, there is not reason to acknowledge the existence of the applet tag.

A: I think Sun has a point. HTML5 says:

The applet element is now obsoleted so that all extension frameworks
  (Java, .NET, Flash, etc) are handled in a consistent manner.

In other words, it's no longer valid for reasons of theoretical purity and not because of any practical problem. Frankly, I find <applet> simpler and more reliable to use in the real world and continue to use it.
While deployJava.js might hide the gory details away, the reality is that under the hood, it still uses <applet> in some circumstances.

redpajama_set_name: RedPajamaStackExchange


text:
Audience Analysis, Clothing / by Helixa Marketing on August 15, 2018
Surfing, mountain climbing, skiing, kayaking in the wilderness - the Patagonia brand lives and breaths passion for the outdoors. Not surprisingly, so do its customers. Patagonia isn't one of those brands that pays lip-service to the outdoors while actually selling to plaid-clad hipsters. Their customers really are the people who are scaling scaling mountain sides or tearing down slopes at 100 miles per hour.
This is a company that doesn't sell undergarments - it sells baselayers. It doesn't sell swimsuits, it sells wetsuits. To Patagonia's customers, clothes aren't fashion statements, they're equipment.
This is also a company that historically claims "advertising is our dead last priority." So how does Patagonia sustain its reputation and what else can we learn about their most ardent enthusiasts?
A Brand that Prioritizes the Planet's Future Over Short Term Gains
Rose Marcario, CEO of Patagonia recently told Fast Company "If the people working for me believe that we do things to make the world better, to make businesses take on a greater responsibility not only to bottom-line profits but also to people and the planet, then that would be the best legacy."
For a company that preaches commitment to sustainability over short term profits, Patagonia knows how to put its money where its mouth is. Marketing VP Cory Bayers told Fast Company "when employees proposed that the company give away all of its 2016 Black Friday sales to grassroots environmental organizations, Marcario green-lighted the plan within 30 minutes via text message. (The company raised $10 million and signed up 24,000 new customers that day.)"
It is increasingly evident that despite minimal traditional advertising, word continues to spread fast about Patagonia's strong mission and it's customer and fan base continues to increase in size and loyalty. Patagonia is confident enough in their customers' loyalty to even encourage them to pass down their old Patagonia gear instead of throwing it away and buying something new to replace it, counting on them buying more gear only when they really need it, as demonstrated in their recent ad below.
But what else can we learn about Patagonia's fans besides their support of it's corporate values?
Uncovering the Demographics and Interests of Patagonia Fans
First, let's look at who Patagonia's audience is and what else they are interested in. The biggest segment of Patagonia's fans has shifted in recent years from younger married men 25-34 to older married men 55-69. This group is also over 20% more likely than the average U.S. adult to make an income over $100K.
Geographically, Patagonia's audience is more likely to be found in cities that are closer to major mountain ranges or oceanic landscapes like Boulder, Honolulu and Burlington, VT, with San Francisco, Denver and Seattle being the major urban markets with the highest concentration of Patagonia lovers.
Patagonia's audience's interests are focused on outdoor athletic gear and activities as well as organizations that support wildlife and the environment. This backs up the assumption that Patagonia fans share the company's values. Some more recognizable brands and organizations that have high affinity among Patagonia fans include Columbia, North Face, National Park Foundation, Sierra Club, GoPro and Tesla.
Observed consumer interests are expressed as the Affinity Index, which measures how the target audience you are analyzing is different from the average American adult.
0<Affinity<1: Audience is less interested in the item than the average American adult
Affinity=1: Audience is as interested in the item as the average American adult
Affinity>1: Audience is more interested in the item than the average American adult
Looking at media interests, a similar theme emerges. Publications that focus on outdoor sports or business innovation and social responsibility like Outside Magazine, Runner's World and Fast Company all find themselves within the top 10 media interests.
For even more insight, download the infographic below which shows some more detail on the audience of Patagonia and how Helixa's Affinity Index can help uncover what they are most passionate about across different kinds of interest categories.


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JEFFERY A. MOULTON
Sorrow's Echo
The Superhero Response
To Make Us More Human
My wife never calls me at work unless it is important, so my heart beat a little faster as I picked up my ringing cellphone and answered.
"Airplanes crashed into the Twin Towers," my wife said, her voice strained and terrified. "They think it was terrorists."
It was September 11, 2001, a day that would forever alter the world.
9/11 memories
I hope my children will never know how that moment feels. I hope they will never experience that gut-wrenching pit in the stomach, that terrible feeling that your world has somehow been ripped apart, that sure knowledge that everything you thought was safe isn't, and that desperate scramble for news—any news—just so you knew something.
That day, my boss set up a radio tuned to an all-day news channel in the break room. We huddled around it as new words entered our vocabulary: Al-Quaida, Bin Laden, jihad. None of us got any work done. Later that night, during every break at school, I gathered with other students in the lobby, all of us staring numbly at a TV tuned to CNN. Few of us knew each other that night, fewer of us spoke, all of us were united.
It was a day I will never forget.
It was a day that changed us forever.
The long shadow of 9/11
Every year, on the anniversary, I think back on that day and the weeks that followed immediately after. For days, I walked around feeling sick and haunted. My dreams were filled with screams and fire and buildings crashing to the ground. I cried often.
Later, a simple analysis of how the 9/11 terrorist attacks helped propel the first Spider-Man film to record-breaking heights would launch me on an unexpected journey to document how that terrible day changed the way we look at and talk about superheroes. I spent four years researching comics and superhero stories, talking with fans and experts, and writing down my thoughts. I became an expert on the topic. The resulting book, The Superhero Response, even landed me a place on Robert Kirkman's Secret History of Comics on AMC (2017), which aired right after The Walking Dead.
Looking back, today, on the 17 years since the attacks, I can still see the long shadow of 9/11 and how it influences our culture, our popular media, our politics, and our every day life.
We must remember that 9/11 changed everything. EVERYTHING. The fact that it had such a profound impact on comic book superheroes is a direct reflection of the impact it had on us as a people.
On that day, a new enemy entered our worldview. It was an enemy that had always existed, the nameless, faceless terrorist who strikes out at the honest, upstanding people, but until that day, he had been an abstraction, a line from a news item in a country far away. On 9/11, he became real, tangible, and frightening. He found his way into the way we think and see the world. He was the Joker in The Dark Knight, an agent of chaos who struck out without rhyme or reason.
The truth of the terrorists was, in fact, much murkier than this terrifying vision suggested, but actions are governed much more by what we perceive than reality. So it was this shadow that drove our discourse and our politics. Whether we like it or not, it is this same shadow that drives much of what we do today.
Last week, in a stunning, unprecedented move, the New York Times published an anonymous op-ed by a "senior Trump administration official" claiming to be part of an inside "resistance" working to "thwart parts of [Donald Trump's] agenda and his worst inclinations." Whether you believe the op-ed writer is a hero or a hack or a fictitious creation, President Trump's Twitter calls of "TREASON!!!" and of a Deep State conspiracy owe much to 9/11. After all, what is the difference between a terrorist who crashes buildings and one who thwarts governments from the inside. In fact, Kellyanne Conway, senior counselor to President Donald Trump, even said that she thought "the motivation [of the op-ed] was to sow discord and create chaos," echoing the Joker's call to "Introduce a little anarchy. Upset the established order, and everything becomes chaos."
The real reaction to 9/11
In the wake of 9/11, Ruth Serge, the creator of the Voices of 9/11 project, said that "The real reaction of 9/11 was to make everyone more human." To some degree, I believe that was true. It bound us together in our human frailty. All of a sudden, we were not the invincible, unconquerable people we once believed. We were exposed and vulnerable to a hidden shadow, an agent of chaos. And worst of all, that shadow could be anyone.
The real reaction of 9/11 was to make everyone more human.
Ruth Serge, Creator of the Voices of 9/11
In the years that have followed, few would deny that we have become more and more divided as a nation. We once thought the attacks would bring us together, much the way Pearl Harbor brought together the Greatest Generation. The opposite has happened. We are more distrustful, more isolated, and more fearful than ever before.
Today, I saw a Twitter argument where the differing sides posted statistics about the other, some claiming that more than 50% of all Democrats believe Russians actively changed the voting numbers of the 2016 election to ensure Donald Trump's victory while others claimed that more than 50% of all Republicans believed that millions of illegal votes were cast. The truth is that neither side has evidence that either occurred, but the mistrust and fear that someone else who believes something different is out to steal the country away and destroy our way of life runs so deep that we'll believe just about everything.
It is so sad.
Saving Spider-Man
Toward the end of the first Spider-Man film (2002), the superhero finds himself in a precarious situation. Dangling from a bridge, holding onto a line attached to a cable-car filled with kids as well as his beloved Mary Jane, he can go nowhere as the Green Goblin races in for the kill. But then a miraculous thing happens: New Yorkers on the bridge above attack the Goblin with brick, rocks, and trash.
"You mess with Spidy, you mess with New York," one of them yells.
"You mess with one of us, you mess with all of us."
It is the one scene that was added to the film in the wake of 9/11, a visual reminder of our initial reaction to the terrorist attacks. In the wake of danger, we pulled together, we comforted and lifted one another. The gut-punch feeling of those first few days faded as we came together as a country and vowed to work together to be better. Cracks quickly appeared, it is true, but for a moment, for one glorious moment, we were united. We were invincible. We were superheroes.
I believe we can be that again. I believe that, in spite of all the vitriol and partisanship, in spite of the wedges that have been driven between us by our fears and prejudices, what binds us together is far greater than what pulls us apart. It won't be easy, and I do not have all the answers. I just know that it will be worth it.
Dark Crossroads
© COPYRIGHT 2018 JEFFERY A. MOULTON.
 ALL RIGHTS RESERVED.


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by Kwals June 12, 20209:41 am
June 12th: LeBron's Nightmare
The other day I was just browsing the internet trying to find some interesting things to write about. I stumbled upon this website onthisday.com and found some interesting facts about June 12th and LeBron James. For those of you that don't know me, let me fill you in on something, I can't stand LeBron James. I will always be on the side that Michael Jordan and Kobe Bryant(RIP) are both better than he will ever be. That being said, I respect LeBron's talent and what he has done for the game of basketball and he is easily a top five player of all time. But due to me not liking him, anytime I can find something to shit on him for I'm jumping at the opportunity.
That brings me to today's date, June 12th. In his long career LeBron has played in the NBA Finals 9 times. During those 9 appearances, he has managed to play a game on June 12th in 4 of them. Out of those four games, he has lost every one of them. That's right, it's almost as bad as his actual NBA Finals record(3-6). On June 12th games he is 0-4, with two of the games ending with the opposing team hoisting up the Larry O' Brien trophy at the end of the night.
Image-CBS Boston
June 12th 2007, was the start of this curse. In his first finals appearance he would take on the San Antonio Spurs. It was game 3 of the series and already facing an 0-2 deficit, it was virtually a must win game. LeBron couldn't get it done though, as the Cavs would lose 75-72 officially starting a curse that may never be broken.
The Second June 12th nightmare came back in the 2011 series against the Dallas Mavericks. Down 3-2 in the series and still searching for his first championship, LeBron and company had the home court advantage for game 6. You'd think in a must win game, the so called King would show out. Not the case, as he finished with only 21 points, 4 rebounds, and 6 assist. Now they aren't bad numbers, but still not LeBron type numbers especially In a must win game. He also had 6 turnovers which helped Dirk and the Mavericks go on to win the game 105-95. With that win they would capture the NBA Championship and celebrate in front of LeBron on his home court.
Giphy.com
Just a year later on June 12th 2012, LeBron had a chance to put this thing to bed before it could really take off. Going up against the Oklahoma City Thunder in game 1 of the 2012 Finals, it was a chance to get off to a strong start in the series. That wouldn't be the case here as LeBron's 30 points weren't enough to get the job done and the Thunder would take the 1-0 series lead. We don't need to talk about how the rest of the series went it's not important to this blog…
The final June 12th nightmare so far, for LeBron came in 2017 as he was back with the Cavaliers and taking on the Golden State Warriors. Now, this game LeBron put up LeBron numbers. Good for him as he finished with 41 points, 13 rebounds, and 8 assist. That wouldn't be enough though as the Cavs would lose 129-120. Another June 12th must win game, and LeBron fell short as the Warriors would win the series 4-1. Luckily for LeBron, it wasn't on his home court this time so it probably hurt a little less.
It's a damn shame this season got put on hold, as who knows maybe we would of had another LeBron nightmare later on tonight. Well, there's always next year and I for one will be keeping an eye on this stat from here on out.
-Walsh
Featured Image-Daily Dose Sports
Dates and Stats courtesy of Basketball Reference
Kwals


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Q: UIInterfaceOrientation issue on ios7.0 I am testing my application on ios7 os iphone.In that am going from portrait viewcontroller to landscape viewcontroller.before going to landscape view my navigation bar height is 44 pixel.but coming from landscape view its height is reduce to landscape view navigation bar.I checked all orienation code.Please help me to solve this.

A: try this inside didFinishLaunchingWithOptions method
self.window.rootViewController = self.viewController;


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Plain Not Knowing
I was explaining to my old landlord Otto how to build a Tibetan still. It's a way to distill wine into slightly stronger wine using a Crockpot, an open yard, and an extension cord. I doubt that the Tibetans actually distill liquor this way, but this is how I learned to do it. Otto suggested rather strongly that I not engage in building a Tibetan still, and I said something to the effect that, sure, there would be a lot of evaporated alcohol fumes and heat, but that's why you kept it at a safe distance with an extension cord. It was then that I learned Otto has a stake in a few Slovakian distilleries. Turns out that you can only drink a certain part of the alcohol once distillation has begun, otherwise you run the risk of going blind or dying. I always thought that people went blind from drinking moonshine distilled through PVC pipes instead of copper. In the loosely quoted words of a former politician I didn't like, "It's not what you know or what you know you don't know, it's what you don't know that you don't know that can really hurt you."


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The Empress of the Clouds by Desiree Ultican
In March 1896, Widow Evaline "Evvy" Amstel has been left with a tremendous debt―before he was murdered, her husband had promised to build and deliver a revolutionary airship, The Empress of the Clouds, to Erasmus Marchand, an embittered Southern millionaire who resents the fact that the damned Yankees won the Civil War. Now that Amstel is dead, no one in Joplin, Missouri, a zinc/lead mining boomtown, knows where the Empress is . . . or if it even exists. Count Ferdinand von Zeppelin also has a stake in finding the airship. He has accused Evvy's husband of stealing the original designs from him and is determined to recover the ship in order to build up Germany's military might.
Evvy takes over her husband's failing airship company and the company thrives for a time. But Marchand is fanatical in his quest to find the Empress―to arm it with a weapon of mass destruction at a pivotal moment in history and instigate anarchy. He'll stop at nothing to achieve his vision and Evvy is proving to be a huge impediment. It's up to her and local deputy Sean McTavish to find the airship before Marchand or Zeppelin does, because the future of the United States is in peril.
The Empress of the Clouds is a steampunk adventure. This alternative history tale features a spunky resourceful heroine who doesn't allow adversity and evil to overpower her but seizes control of her own destiny.
Targeted Age Group:: YA, Adult
I was inspired by a lifelong love of history, science and the 19th century's push into the modern era.
Most of all, I wanted a strong heroine (Evaline Amstel) with flaws and strengths, ready to battle limitations because of her sex at the turn of the last century. I wanted to introduce a formidable villain (Erasmus Marchand) as a foil, one with intelligence and vision, but distorted by hatred and narcissism. Lastly, I wanted to introduce a possible romantic interest (Sean McTavish) but mostly wanted a "best buddy" for Evaline, a faithful friend she could turn to at the most desperate times.
For the first three flights, Evaline sat beside Bergendahl in the Savanthia's co-pilot's seat. The rail-thin, blond man patiently explained each component of the control panel to her—from the gauge that monitored the temperature of the steam engine to the one that indicated the speed of the chain drive to the propellers. He demonstrated the use of the ballonets and how inflating and deflating them determined the altitude. A large wooden wheel steered the rudder, and he emphasized how sensitive this wheel was to any slight movement on her part. He gave her a checklist of steps necessary to ensure the dirigible was flight-ready before leaving the ground. He had the temperament of a perfect teacher—allowing her to take copious notes, patiently repeating answers to questions that came up again and again. Once she mastered the instrumentation and control of the airship, subsequent lessons would involve navigation and route planning.
But more than once, Lars emphasized that despite all the "book learning" and rote memorization of the functions of the airship, one required an innate ability to use the five senses and intuition in evaluating changing weather conditions, to tackle unforeseen challenges and in developing an instinct for how the craft would respond to her direction.
"And each ship has her own mind! Remember that, Evvy. You will have to pilot the other ships differently than you are piloting the Savanthia. If you hit an air pocket with the Revolutia and you handle her the way you would the Savanthia, you might find yourself hanging upside down in the treetops!"
While Evaline sat beside her instructor and absorbed all the wisdom he imparted, she couldn't help but ponder the fact that this knowledge was kept from her while Heinz was alive, all the while she bankrolled the operation. Why was I content to attend ladies' teas, do needlework or read fanciful novels when I could have been flying? she asked herself. If I had been more curious and daring, I could have shaped my life, instead of letting it shape me. Finally, I am in control of my own destiny.
At long last, on a late June day accompanied by perfect weather, Evaline Amstel took over the pilot's seat. Without any prompting from Lars, she painstakingly followed the procedures he had laid out. She had been so confident she could easily take to the skies, but it proved much more challenging than she had anticipated. A few minutes after becoming airborne, an unexpected sudden breeze swept the airship sideways. The novice pilot over-corrected at the helm and the ship made a head-spinning 360-degree turn. A moment of panic engulfed Evaline before she regained control. She glanced quickly to her right to catch a pale-faced Lars struggling to keep his composure—she had scared him nearly to death!
But she quickly "got the hang of it," so to speak. As the airship glided over the countryside near Joplin, Evaline felt an exhilarating feeling bubble up inside her that was unlike anything she had felt before. The fact that she controlled this airborne conveyance thrilled her to the core. Although she was not fond of heights she felt cradled by the Savanthia and was confident that the ship would not let her down. After the initial tussle with the wind, the airship obeyed her every move. If she chose to go left, an ever-so-slight turn of the wheel sent the airship gracefully adjusting its course. An application of a firm hand to the throttle lever lowered the engine's output, slowing the propeller revolutions and reducing the airship's speed.
Far below the ship lay the small ball-like shapes of lush green trees, clusters of brush along the fence lines, and the cultivated squares of various planted fields. She saw a farmer stop his ox-cart, jump down and run along the road, waving at them excitedly with both arms. The water in the farm ponds, small streams and the larger Shoal Creek acted as a mirror—the brilliant sun reflected off the surface and a few times the light was blinding. She made a mental note to wear Heinz's dark-lensed traveling spectacles the next time she flew.
Lars gestured for her to turn toward town. Although she had flown as a passenger in Heinz's ships a few years ago, she had forgotten how breathtaking the view was from an altitude of several hundred feet. The roofs on the commercial buildings were a patchwork of grays, blacks, and browns. Residential areas varied a great deal, from several tiny houses crammed into a block to the carefully manicured lawns and gardens of large estates. People, horses and wagons bustling below were as small as insects.
"It's so…magnificent. Incomparable," she enthused. She glanced over to Lars' grinning sunburned face. "It is no wonder you love flying, Lars!"
The blimp was a living thing to her, as real a creature as her horses Genii or Squire, and as compliant to her commands. And, it seemed, as fond of speed. She confided this whimsical observation to Lars, who nodded in agreement. "You have the makings of a true pilot, Evvy! That is how we all feel about these ships—they are full of life! Treat them well, and they will respond in kind."
After a thirty-minute flight, Lars guided her through the landing process. Despite her best efforts, she could not get close enough to the docking tower and the blimp awkwardly floated 20-25 feet above the ground while she tried to maneuver it into place (difficult to do since it could only be steered in one direction—forward). After raising and lowering the Savanthia three times, finally on the fourth attempt the ship was close enough to the tower to harness it into place. Still, it was a heavy-handed attempt as the gondola connected with the launch pad with a rough thump. It settled, half on and half off the pad.
Lars patted her shoulder as she apologized for her lack of skill. Marcus Hubbley approached them, ruefully shaking his head as they climbed out of the gondola.
"Aww, you did fine, Evaline. Pay no attention to the old man! The Savanthia is a tough old bird, but you made her soar like an eagle!" Bergendahl turned to the grimy mechanic and crowed, "Mrs. Amstel did it, Hubbley! She has wings, too!"
Evaline grinned widely at both men. She could not help but fling her arms around and hug the usually stoic Swede in gratitude and relief. She had piloted her airship successfully. For a brief, glorious period, she had conquered the skies.
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Filed Under: Alternative History, Bargain Books Under $3, Buyer's Guides, Heat Level 3 - PG-13, Kindle Unlimited eBooks, Print Books, Science Fiction, Steampunk Tagged With: 19th century, airship, alternative history, Desiree Ultican, dirigible, sci-fi, steampunk, Strong Heroine, technology, zeppelin


UCSF vascular surgeons have introduced a new "flow reversal" system designed to improve the safety of carotid artery stenting procedures. The FDA approved the first flow reversal system for clinical use earlier this month based upon the results of a recently completed clinical trial. Flow reversal systems temporarily redirect blood flow away from the brain during carotid artery stent placement to reduce the risk of embolic stroke. Flow reversal is achieved by selectively occluding the carotid artery proximal to the carotid artery narrowing and establishing an arteriovenous shunt.


A triple-action mask that deeply cleanses, exfoliates and brightens thanks to our bespoke blend of purifying kaolin clay, skin-brightening fruit acid complex, ground walnut shells and a bespoke blend of calming essential oils including rosemary and palma rosa.
Smooth over a cleansed face in circular massage movements. Leave for up to five minutes and then remove with warm water.
This is a great hybrid of a semi-clay mask and AHA exfoliating mask - this isn't powerful enough to improve hyperpigmentation but it'll certainly brighten the complexion! Would be good before an event as also helps refine the size and appearance of pores!


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Dillenius-Sauerklee (Oxalis dillenii) ist eine Pflanzenart aus der Gattung Sauerklee (Oxalis) innerhalb der Familie der Sauerkleegewächse (Oxalidaceae). Die ursprüngliche Heimat liegt in Nordamerika und sie ist in vielen Teilen der Welt ein Neophyt.

Beschreibung

Der Dillenius-Sauerklee ist eine einjährige bis ausdauernde krautige Pflanze. Er bildet eine Pfahlwurzel. Der Stängel ist aufrecht, meist unten reich verzweigt, seltener einfach und an den Knoten nicht bewurzelt. Die Internodien sind im oberen Teil des Stängels abschnittsweise stark verkürzt, so dass die meist grünen, selten rötlichen oberen Laubblätter gegenständig oder quirlständig stehen. Stängel, Blätter und Blütenstiele besitzen durch die Vielzahl einzelliger, ausschließlich aufwärts anliegender Haare (Trichome) ein graugrünes Aussehen (u. a. darin unterscheidet sich Oxalis dillenii von Oxalis stricta). Die Nebenblätter sind sehr schmal und mit dem Blattstiel verwachsen.

Die Blütezeit reicht von Juli bis Oktober.

Die Kapselfrucht ist meist 15 bis 20 (10 bis 30) mm lang und mit zahlreichen, nach unten anliegenden, einzelligen Haaren und wenigen bis zahlreichen, abstehenden, mehrzelligen Gliederhaaren ausgestattet. Die braunen Samen besitzen an ihren Querrippen deutlich erkennbare weiße Linien.

Die Chromosomenzahl beträgt 2n = 18, 20, 22 oder 24.

Vorkommen
Der Dillenius-Sauerklee ist ursprünglich in den östlichen USA und im angrenzenden Kanada beheimatet.

Nach Europa wurde er vermutlich im 19. Jahrhundert über den Mittelmeerraum eingeschleppt. Heute kommt sie als Neophyt in Albanien, Österreich, Großbritannien, der ehemaligen Tschechoslowakei, Dänemark, Frankreich, Italien (mit Sardinien) und dem ehemaligen Jugoslawien vor. In Deutschland wurde sie zuerst 1961 in Berlin und 1962 in Darmstadt nachgewiesen. In Deutschland ist der Dillenius' Sauerklee heute noch neben Berlin an einigen Fundorten in Hessen und auch in Rheinland-Pfalz und im Saarland, sowie in Baden-Württemberg zu finden.

Der Dillenius-Sauerklee braucht nährstoffreichen, mäßig trockenen bis frischen Boden. Im Ursprungsgebiet ist er in Prärien, lichten Eichenwäldern und in Unkrautgesellschaften zu finden. In Europa findet man ihn in Unkrautgesellschaften, an Wegrändern, in Hackfruchtgesellschaften des Verbands Polygono-Chenopodion, auf Friedhöfen, in Gärten und in lückigen Parkrasen in Gesellschaften des Verba ds Cynosurion; selten wächst er auch auf Äckern.

Die ökologischen Zeigerwerte nach Landolt et al. 2010 sind in der Schweiz: Feuchtezahl F = 2+ (frisch), Lichtzahl L = 4 (hell), Reaktionszahl R = 3 (schwach sauer bis neutral), Temperaturzahl T = 4+ (warm-kollin), Nährstoffzahl N = 4 (nährstoffreich), Kontinentalitätszahl K = 2 (subozeanisch).

Literatur

Einzelnachweise

Weblinks

 Thomas Meyer:  Datenblatt mit Bestimmungsschlüssel und Fotos bei Flora-de: Flora von Deutschland (alter Name der Webseite: Blumen in Schwaben)
 Fotos und Auszug aus der Exkursionsflora für Österreich, Liechtenstein und Südtirol, 3. Auflage 2008 bei botanische-spaziergaenge.at
 Detailbild der Samen.

Sauerkleegewächse


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A French referee has admitted he should have sent off Rennes striker M'Baye Niang in Sunday's game against Paris Saint-Germain, despite not changing his mind at the time even after a VAR review.
Karim Abed booked the Senegal international for a dangerous challenge that caught PSG defender Thilo Kehrer above the ankle in the first half of the Ligue 1 game at the Parc des Princes, which Paris won 4-1.
Abed then came across to the side of the pitch to review footage of the tackle following an exchange with the video assistant but ruled that the yellow card was appropriate punishment.
"I made two mistakes. First on my initial decision to only give a yellow card, and then the second time when I looked at the footage," Abed told AFP.
PSG coach Thomas Tuchel was left raging at the decision not to send off Niang, who later apologised on social media for the challenge.


On March 2, 2012, a Silver Alert was issued for 77 year old Frank Baldwin. Baldwin went missing in Washington Township, New Jersey and was found safe 30 miles away in Lower Saucon Township, Pennsylvania.
A 77-year-old Warren County man was missing for two days before being found Sunday more than 30 miles from home, authorities said.
Police found Frank Baldwin, of Washington Township, at 1:30 p.m. Sunday in Lower Saucon Township. Baldwin, who has Alzheimer's and dementia, had been last seen Friday morning in Hackettstown.
Authorities issued a Silver Alert — similar to an Amber Alert for missing children, but for elderly people — and received several calls reporting sightings of Baldwin's brown 2003 Chevrolet Silverado, according to Washington Township police Lt. James Teter.