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Toyota Tundra vs GMC Sierra
Posted on Published: March 23, 2022 - Last updated: November 27, 2022
What is the Toyota Tundra?
Toyota Tundra Model and Performance
Toyota Tundra Features
Toyota Tundra Interior
On the Road or Off-Road
What is the GMC Sierra?
GMC Sierra Performance
GMC Sierra Features
The Toyota Tundra is a redesign of Toyota's old Tundra pickup range that has been around since 2007. It's designed as a performance vehicle with a new powertrain and some interesting new technology. The TRD Pro is at the top end of the range with awesome offroad capabilities.
Related to: 8 Pickup Trucks Similar to the Toyota Tundra
The Tundra comes with a twin-turbo V6 in contrast to its older model that was powered by a V8. The V6 produces about 390 hp in most models, with the upgraded models producing 440 hp. The increase in power is a result of the addition of a hybrid system.
The engines produce around 480 pound-feet of torque. That's more power than any of Toyota's previous V8 engines fitted to the Tundra range.
Fuel economy is at the center of Toyota's powertrain choice. The Tundra still has plenty of power despite its smaller engine. You can expect to get around 20 miles per gallon now.
For extra power, Toyota offers the iForce Max hybrid system that ups the power by around 60 hp.
Towing capacity is not class-leading but still comes in at around about 12,000 pounds.
The Tundra TRD models come with various upgrades that improve performance, one of which is the addition of Fox shock absorbers. They also come standard with a beautiful set of BBS wheels.
It's shod with all-terrain tires for better grip when going off-road.
At the front, the massive grill is very distinctive, making it hard to miss. Integrated into the grill is a factory standard LED light bar.
There's a camo design on the bumpers and various other pieces of plastic trim to give the truck a distinctive look.
Getting into the load bed isn't easy as there aren't any cut-outs or steps to put your feet on. What we did like was the power outlet in the bed for power tools or any other electrical equipment you may have.
Crawl control is Toyota's latest offroad function. It takes the inputs from various sensors and selects the right gear, the correct amount of power, and manages your speed to ensure that the Tundra makes it through whatever terrain you throw at it.
The dial in the center console allows you to switch between eco, normal, and sport modes on the fly.
However, if you go into 4-wheel drive, then you can go into Multi-Terrain-Select mode by pressing the MTS button below the dial. When you have the MTS mode engaged, the dial changes the type of terrain you're on. You have the option to select auto, dirt, sand, mud, or deep snow.
Selecting 4-wheel drive is via a little lever on the center console which you push down to select high and low ranges.
The camo motif extends to the interior with the seats being upholstered in camo-print leather.
The build quality is top-notch with detail stitching in contrasting colors giving the cabin a purposeful look.
The 14-inch dashboard screen provides a clear view and incorporates touch-screen controls for the infotainment system. The fonts are large and easy to read.
One of the most impressive aspects of the screen is access to multi-angle cameras. There's a view of just about every conceivable part of the truck.
Toyota has, at last, adopted a gauge-cluster screen but it's not very configurable.
The seats are very roomy, with plenty of space both in the front and back. The storage isn't very large, which was disappointing.
The first glaring omission is the absence of recovery hooks. It's been done to reduce fuel consumption, but anyone going off-road needs to be able to pull themselves out of sticky situations.
The truck is very responsive and has loads of low-end grunt. It also sounds great.
The GMC Sierra comes in a regular duty model and a heavy-duty model. The Denali is the top-of-the-range model with an upgraded trim and powertrain package. It has been through a few facelifts over the years and is now a fully-fledged luxury pickup.
The GMC comes with a drive mode dial that allows you to change from Tow/Haul to off-road to sport and tour modes.
4-wheel drive is engaged via 4 buttons on the dashboard giving you auto, 2 high, 4 high, and 4 low.
You get to choose from 4 different engines. A 2.7-liter four-cylinder turbo motor making 310 hp, a 6-cylinder turbodiesel, and two V8s. One is a 5.3 liter V8 producing 355 hp and the other a 6.2 liter V8 producing 420 hp.
One of the features I really like is the tailgate. The handle has two buttons. One button opens the tailgate as per usual and the second button drops the center portion of the tailgate, creating a step.
Brilliant! It makes getting into the load bed simple and even comes with a bar that flips out from the side to act as a safety railing.
The smaller tailgate step also works when the main tailgate is up and locked in place. The smaller tailgate step can flip open, giving you access to the load bed through a small space and then the step acts as a stopper to prevent loads from shooting out the back when you accelerate away.
This is probably the most impressive and innovative tailgate design on any truck currently on the market.
The bumpers also include cut-out steps making for easier access to the load bed.
There's a huge heads-up display that provides tons of information directly into your line of sight. It has a great off-road setting that shows vehicle angle, whether you're in 2- or 4-wheel drive, as well as vehicle speed.
The rear-view mirror doubles as a rearview camera screen which is very convenient and provides excellent visibility.
There's plenty of storage throughout the cabin. Two glove boxes as well as a huge center console and storage in the rear seat area offer more places to put things than you'll probably need.
The Sierre also comes standard with USB charging ports, a regular lighter plug, and a standard 3-prong home power plug.
The interior trim is good but excellent as there's cheap plastic trim and it doesn't quite gel with the high-end nature of a luxury model.
The quality of ride is great, with an extremely comfortable seat.
The cross-traffic alert and huge side mirrors make driving a pleasure. You're always aware of your surroundings and the high seat position builds confidence.
There's even an alert seat that vibrates if you're backing up and get too close to an obstacle.
Steering is light, which is as it should be in a large vehicle like this, and overall performance is superb.
The Toyota Tundra offers old-school reliability and not too many new features. It is a solid performer with a few shortcomings. The Sierra offers more comfort but the load bed accessibility swung the scales for me.
You buy a pickup for its ability as a workhorse. The Sierra just makes everything easier and provides a great balance between comfort and utility.
By Author Jon Callahan
Categories Trucks
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Pleasantville-Absecon
U.S. Postal Service real estate specialist David M. Wolff, right, speaks with Whitesboro residents on Thursday about plans for a new post office.
Bill Barlow / For The Press
The former post office trailer next to the Martin Luther King Jr. Center at 207 Main St. was removed over the summer. Since then, residents with post office boxes have picked up their mail at the MLK Center.
U.S. Postal Service real estate specialist David M. Wolff, left, looks at photos of modular post offices on Mayor Timothy Donohue's phone.
U.S. Postal Service real estate specialist David M. Wolff, center, talks to Whitesboro residents along with Postmaster Cheryl Foster and architect Richard Szudzik.
Gloria M. Jackson, a local resident, requests a good-looking post officer for her community.
Whitesboro to get new post office, Postal Service says
BILL BARLOW For The Press
MIDDLE TOWNSHIP — Whitesboro will get a new post office at a new location after going months without one, postal officials told community members Thursday.
The former post office trailer next to the Martin Luther King Jr. Center at 207 Main St. was removed over the summer.
Since then, residents with post office boxes have picked up their mail at the MLK Center. The former trailer was in bad shape, with rust stains on the exterior and other aesthetic issues.
"We'll do better than that for you," David M. Wolff, a real estate specialist with the U.S. Postal Service, said during a special meeting at the MLK center.
Plans call for another trailer, which would be 40 feet long and a little more than 12 feet wide, essentially the same size as a standard tractor-trailer cargo space.
Resident Gloria M. Jackson asked whether the Postal Service could design a building in keeping with the historic nature of the community.
"When we get done it, it will look really nice," Wolff responded about the new trailer. "They do not look tacky."
Wolff would not say how much the Postal Service has budgeted for the site or for the building.
He said he will look at options for a location and make a recommendation to a committee, which will make the final decision. That process typically takes about five months from when he makes his report presenting options, he said.
He did not give an estimate for how long it will be until the new post office is in place. In the meantime, those with P.O. boxes can continue to collect their mail at the MLK center, where a room has been set aside for the boxes in use.
The township has already offered a site for the trailer: the historic Whitesboro School at 100 Main St., not far from the MLK center. The building has not been used as a school for some time, according to Mayor Timothy Donohue, who said it is used by the Concerned Citizens of Whitesboro for programs. Those programs would not be interrupted if the post office trailer were located at the site, he said.
According to Donohue, some improvements to the crosswalks leading to the property would be needed to make crossing Route 9 safer. The route is also known as Main Street through much of Middle Township.
The Postal Service has not decided on the township site, Wolff said, adding he is willing to consider leasing retail space or other possibilities.
Whitesboro residents said Thursday, and in other meetings, that keeping the independent identity of the historically black community is important. Some residents said their homes have been in Whitesboro throughout their lives, but that they are now listed in the Cape May Court House ZIP code for home delivery. Others said GPS and home delivery services like Amazon in some instances don't even recognize Whitesboro, while others raised concerns about public safety if emergency responders cannot locate addresses. Wolff said he is responsible for real estate transactions, but that he would try to find answers.
Whitesboro began in 1901, founded by attorney and Republican North Carolina Congressman George Henry White, the last African American representative elected before the start of the Jim Crow era. He and other investors founded Whitesboro as a planned community for African Americans.
Residents have 30 days from the date of the meeting to offer comment or suggest potential sites for the new post office. Wolff said comments may be sent to david.m.wolff@usps.gov or to PO Box 27497, Greensboro, NC, 27498.
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redpajama_set_name: RedPajamaCommonCrawl


text:
package io.reactivex.rxjava3.internal.operators.flowable;

import org.reactivestreams.Subscription;

import io.reactivex.rxjava3.core.*;
import io.reactivex.rxjava3.disposables.Disposable;
import io.reactivex.rxjava3.internal.fuseable.FuseToFlowable;
import io.reactivex.rxjava3.internal.subscriptions.SubscriptionHelper;
import io.reactivex.rxjava3.plugins.RxJavaPlugins;

public final class FlowableCountSingle<T> extends Single<Long> implements FuseToFlowable<Long> {

    final Flowable<T> source;

    public FlowableCountSingle(Flowable<T> source) {
        this.source = source;
    }

    @Override
    protected void subscribeActual(SingleObserver<? super Long> observer) {
        source.subscribe(new CountSubscriber(observer));
    }

    @Override
    public Flowable<Long> fuseToFlowable() {
        return RxJavaPlugins.onAssembly(new FlowableCount<>(source));
    }

    static final class CountSubscriber implements FlowableSubscriber<Object>, Disposable {

        final SingleObserver<? super Long> downstream;

        Subscription upstream;

        long count;

        CountSubscriber(SingleObserver<? super Long> downstream) {
            this.downstream = downstream;
        }

        @Override
        public void onSubscribe(Subscription s) {
            if (SubscriptionHelper.validate(this.upstream, s)) {
                this.upstream = s;
                downstream.onSubscribe(this);
                s.request(Long.MAX_VALUE);
            }
        }

        @Override
        public void onNext(Object t) {
            count++;
        }

        @Override
        public void onError(Throwable t) {
            upstream = SubscriptionHelper.CANCELLED;
            downstream.onError(t);
        }

        @Override
        public void onComplete() {
            upstream = SubscriptionHelper.CANCELLED;
            downstream.onSuccess(count);
        }

        @Override
        public void dispose() {
            upstream.cancel();
            upstream = SubscriptionHelper.CANCELLED;
        }

        @Override
        public boolean isDisposed() {
            return upstream == SubscriptionHelper.CANCELLED;
        }
    }
}

redpajama_set_name: RedPajamaGithub


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The 80 Greatest Dylan Covers of All Time
From Hendrix, Baez, and the Byrds to Cher, Adele, and the Roots, our list of the 80 greatest covers of Bob Dylan's songs
By JON DOLAN & DAVID BROWNE & KEITH HARRIS & ANDY GREENE & ROB SHEFFIELD & ANGIE MARTOCCIO & KORY GROW & JONATHAN BERNSTEIN
Photographs in illustration by Bruce Fleming/AP; Yui Mok/PA Wire/AP; H. Thompson/Evening Standard/Hulton Archive/Getty Images; David Corio/Redferns/Getty Images;
Jason DeCrow/AP
For Bob Dylan's 80th birthday we've compiled our list of the 80 greatest covers of his songs — a collective gift back to him to say thank you for everything he's given us. The list has songs recorded by his folk peers nearly 60 years ago, and others from as recently as last year. Getting down to 80 wasn't easy. As the greatest songwriter of all time, Dylan has inspired thousands of covers of his songs by artists from every corner of music. Our picks include everyone from Hendrix, Baez, and the Byrds to Cher, Adele, and the Roots.
Dylan at 80 | Interviews, Reviews, Photos, Archives
Dylan loved the ides of other people doing his songs, and it's amazing how many songs here were recorded many times by other artists before the man himself ever released his own versions; often, they lived whole other lives, evolving and changing over the years, with his idea of the song as only a blueprint. And because there are so many kinds of Dylan songs, there's a vast array of different kinds of Dylan covers: R&B singers love relaxing into the contours of "Lay Lady Lay"; country singers like his rootsy stuff; indie-rockers key into his sad side; heroic rock singers love scaling the peaks of open-ended classics — like "It's All Over Now, Baby Blue" or "Like a Rolling Stone" — finding their own way to make new meanings amidst the intersecting, and often contradictory, emotions and ideas that can roil around within one Dylan song. Even weird, tossed-off or straight-up bad Dylan songs can make for great covers.
Upon reading this, true fans will immediately think of their own favorite covers that didn't make the list. And that's part of the fun. This story leads in a million directions. The road always ends wherever you're at right now.
William Shatner, "Mr. Tambourine Man" (1968)
Captain's log, Stardate 1968: William Shatner creates the music equivalent of the Doomsday Machine. At the height of Star Trek, Captain Kirk recorded this bizarre spoken-word recital of "Mr. Tambourine Man," definitely taking a trip upon his own magic swirling ship. He declaims the lyrics in his tormented style, as if feeling all the pain of the Horta, over psychedelic lounge-pop. By the end, he's screaming, "Mr. Tambourine Maaaaaaan!" It's safe to say he succeeds in his mission to boldly go where no Zimmerman has gone before. R.S.
Richard Hell and the Voidoids, "Going Going Gone" (1982)
The British punks may have been keen on skewering sacred cows, but even the most nihilist of the CBGB crowd kept on eye on the past of rock and roll. On his second and final album, the punk poet the Times once called "a kind of contemporary equivalent of the mid-60's Bob Dylan" finds an unexpected outlet for his sorrow in a track from Planet Waves, which guitarists Ivan Julian and Robert Quine lacerate with a ferocity that makes Robbie Robertson sound tame. K.H.
The Dead Weather, "New Pony" (2009)
The cryptic Street-Legal track about a horse named Lucifer gets the sludgy blues treatment from Jack White's heavy rock supergroup. According to singer Alison Mosshart, this track, like much of the band's debut LP Horehound, wasn't even initially intended for release. "We were just seeing how we could attack it and what we could get from it." she told Billboard at the time. They got maybe even more than they bargained for. K.H.
Jenny Lewis, "Standing in the Doorway" (2019)
Lewis is such a great songwriter nobody would wish she'd stick to other people's material, but on those rare occasions she covers another artist she reveal what a terrific interpreter she can be. In 2019 she released an expressively sung home recording of this Time Out of Mind standout, subtly overdubbed, on her iPhone Demos EP. Lewis' version is on a more down-to-earth human scale than Dylan's doomy meditation of mortality, revealing just how adaptable the original composition was. K.H.
The Dream Syndicate, "Blind Willie McTell" (1988)
The psychedelic punks in the Dream Syndicate always had a tight connection with the Dylan songbook, even in their early 1980s days, when they were bashing out deep cuts like "Outlaw Blues" and "Groom's Still Waiting at the Altar" for Hollywood club kids. They were the first to release "Blind Willie McTell," for a 1988 fanzine single, years before Dylan's version came out. Steve Wynn's acerbic sneer carries the song's bitter indictment of American history. How could Dylan write a song this great for Infidels and leave it off the album? All we know for sure: nobody could play the blues like Blind Willie McTell. R.S.
Ministry, "Lay Lady Lay" (1996)
It's fair to go out on a limb and call this the least seductive "Lay Lady Lay" ever recorded. That's an achievement that Ministry's Al Jourgensen must be proud of. The industrial metal kingpin just had a huge breakthrough hit with his 1992 Psalm 69, and to celebrate, he set out to make the noisiest, sludgiest, most antisocial follow-up album he could, calling it Filth Pig. "Lady Lady Lady" was the hilarious climax, with Jourgensen screaming the title in a druggy haze. "His clothes are dirty but his hands are clean"? Yeah right — this version makes you look for the nearest decontamination shower. R.S.
Kesha, "Don't Think Twice, It's Alright" (2011)
Kesha doesn't so much perform this breakup song as she does endure it. Recorded for Amnesty International's 76-song Dylan tribute, this spookily skeletal version establishes a raw mood even before she audibly breaks down in tears. "The emotion caught up with me and I just started weeping," she told Rolling Stone at the time."It seemed like a suicide note to the love of my life and to my former life. Because everything in my life has changed so much." K.H.
The Roots, "Masters of War" (2007)
When the Roots were booked to play a Bob Dylan tribute show at New York's Lincoln Center in 2006, they took a page from the Leon Russell playbook and set it to the tune of "The Star-Spangled Banner." By this point in history, it was clear to most Americans that the war in Iraq had been a horrible mistake, and it was met with roars of approval and a standing ovation. It was enough to make them add it to their setlist and at Coachella in 2007, they stretched it out to eight incredible minutes. A.G.
Joe Cocker, "Catfish" (1976)
Dylan should have written more Seventies baseball songs, right? "Catfish" is an acoustic blues he cut in 1975, but left unreleased until his 1991 The Bootleg Series, a tribute to the great pitcher Catfish Hunter. Dylan turned the Carolina boy with the fastball into a folk hero a la Pretty Boy Floyd or Stagger Lee, smoking cigars and wearing alligator boots. As a Northern English bloke, Joe Cocker might not have been much of a baseball fan, but he wails it as a slow, bluesy boast. Some of us still hope we eventually get Dylan songs about Dock Ellis, Mark Fidrych, Vida Blue, and Bye Bye Balboni. R.S.
Sonic Youth, "I'm Not There" (2007)
"I'm Not There" is such a mysterious Bob Dylan song that nobody even knows the complete lyrics. It was recorded during the Basement Tapes sessions, but confined to bootleg recordings until he finally allowed it to see the light of day on the soundtrack to the surreal 2007 movie of the same title. The sole available Basement Tapes version begins with Dylan mid-word and he's so slurry in some parts that fans have spent decades arguing over what exactly he's saying. What everyone agrees is that "I'm Not There" is a haunting work worthy of endless examination. Covering it is a very difficult task, but Sonic Youth nailed it on the I'm Not There soundtrack. Their rendition keeps all the mystery of the original intact. A.G.
Johnny Thunders, "Joey" (1983)
Johnny Thunders was the ultimate NYC born-to-lose street punk, ever since he redefined feedback as the glam-trash guitar hero of the New York Dolls and the Heartbreakers. Born John Anthony Genzale in Queens, he related to Dylan's tale of another Italian prince gone bad, Brooklyn mafioso Joey Gallo. "Joey" might be the most widely hated Dylan song of the Seventies, but Thunders claims it as a tribute from one great paisan hipster rock & roll star to another. He turns it into a Dion-worthy Fifties-style guitar/sax toast: "Joey Joey Joey, king of da street!" This is where "Like a Rolling Stone" meets L.A.M.F. — one of those rare Dylan covers that improves on the original. R.S.
Nanci Griffith, "Boots of Spanish Leather" (1993)
Griffith performed this study abroad blues with Carolyn Hester at Dylan's star-studded 30th Anniversary Concert. He liked it enough to add his own harmonica to Griffith's studio version, released the next year, in 1993, on her signature covers record Other Voices, Other Rooms. That album included covers by everyone from Kate Wolf to John Prine to Jerry Jeff Walker. She plays "Boots of Spanish Leather" completely straight, laying bare the song's heartbreak and agony by letting the song speak for itself. J.B.
The Heptones, "I Shall Be Released" (1969)
Few artists have brightened up a Dylan recording as nicely as the Heptones did on their 1969 reggae iteration of the singer's redemptive ballad "I Shall Be Released," released just a year after the Band did it on Music From Big Pink. For whatever reason, the song was never included in any of the multiple album-length compilations of reggae Dylan covers, but the Jamaican trio recorded the song several times (including a 1977 version with dub master Lee "Scratch" Perry). In later years they would change the chorus to: "I see Jah light/Come shining." J.B.
Nick Cave and the Bad Seeds, "Death Is Not the End" (1996)
After ranting about homicide for nearly an hour on his 1996 album, Murder Ballads, Nick Cave must have needed a hug, so he turned to Dylan's uplifting Down in the Groove deep cut and made it a warm-and-fuzzy campfire singalong with some of his best friends and baddest seeds. Maintaining the easy, country-tinged vibe of the original, Cave trades verses on the recording with a cross section of his mid-Nineties dark-rock cabal and some pop-rock curveballs: PJ Harvey, the Pogues' Shane MacGowan, Einstürzende Neubauten and the Bad Seeds' Blixa Bargeld, Kylie Minogue, former Bad Seed Anita Lane, and the Bad Seeds' Thomas Wylder. Other than Bargeld's sinisterly whispered verse, it's a sweet and sentimental palette cleanser, a refreshing after-dinner mint to follow the bloody massacre that was the rest of the album. K.G.
Al Kooper and Stephen Stills, "It Takes a Lot to Laugh, It Takes a Train to Cry" (1968)
On Highway 61 Revisited, Dylan approached this assemblage of railroad and blues-song images as a lanky shuffle. This souped-up overhaul, from the Super Session album that also featured guitarist Mike Bloomfield on other tracks, replaces the clank of a railway car with the souped-up feel of a jet airliner. Kooper's delivery is even more laconic than Dylan's, and Stills contributes a fluid solo with a hint of twang (egged on by Kooper's "aww, pick it, Wilson!" exclamation). Kooper later wrote that he was inspired by Dylan's earlier, "fast-tune" arrangement of the song. D.B.
Fairport Convention, "Million Dollar Bash" (1969)
Among the many playful songs Dylan wrote during his "Basement Tapes" era was his freewheeling, surrealistic tale of a party inhabited by all sorts of freaks and geeks. Fairport Convention's cover delightfully heightens the bawdy-reverie aspect of the tune. With band members trading verses — listen close for Sandy Denny and Richard Thompson, both in Fairport at that point — "Million Dollar Bash" becomes a woozy, giddy, seemingly liquored-up sing-along. Even more so than Dylan and the Band did in their Big Pink version, Fairport make you want to join in on the party as soon as possible. D.B.
Dave Van Ronk, "If I Had To Do It All Over Again, I'd Do It All Over You" (1963)
When Dylan arrived in NYC in the early 1960s, Dave Van Ronk was the king of the Greenwich Village folkies, the Mayor of MacDougal Street. Dylan idolized him from afar and studied him up close — as he recalled in Chronicles, "He was passionate and stinging, sang like a soldier of fortune and sounded like he paid the price." Van Ronk did one of the kid's songs on his 1963 album In The Tradition — a ribald ragtime ditty Dylan played just a couple of times onstage. The immortal hook: "If I had to do it all over again, babe, I'd do it all over you!" R.S.
Jeff Buckley, "Just Like a Woman" (1993)
Dylan's look back at a collapsed relationship has been tackled by a wide range of acts over the decades — from Richie Havens and Nina Simone to, later, Stevie Nicks and Old Crow Medicine Show. Buckley's 1993 cover, which predates his Grace album, strips down the song musically and emotionally. In his Blonde on Blonde take, Dylan, encased in subdued folk-rock, sounded worn down and slightly dismissive of the woman with "her fog, her amphetamines and her pearls." Here, accompanied only by his electric guitar, Buckley sings in a far more supple and consoling tone, as if he's in as much anguish as his partner. By the end of the song, he seems on the verge of tears. The result is a rarity: a Dylan cover that sounds like an entirely different song, D.B.
Freddie King, "Meet Me in the Morning" (1975)
Dylan bent the blues to his own artistic purposes, so it was always rewarding to hear bluesmen readjust his songs back into a more traditional shape. This riff-driven Blood on the Tracks number almost calls out for a straight blues cover, and the Texan-born Chicago guitar great leapt at the invitation, performing it on the last album he released in his lifetime, Larger Than Life. Where Dylan plays it cool, King rushes into it with soulful abandon, reeling off a stylishly fierce solo, with horns busting in at just the right moments. K.H.
Ramblin' Jack Elliott, "Don't Think Twice, It's Alright" (1968)
Dylan famously loved this version of his Another Side ballad by his mentor (and Woody Guthrie pal) Elliott. "I bequeath it to you!" he announced as he watched Elliott perform the song one night. And it's easy to hear why, especially in this original remake from 1965. If anyone could relate to the I'm-outta-here narrator, who decides to hit the road and not be pinned down, it would surely be Elliott. ("Where I'm bound, I can't tell" in some ways sums up Elliott's own zigzagging travels and personal life.) Elliott sings it with equal parts tenderness and crankiness, and the craggy harmonica adds a perfect Dust Bowl touch. D.B.
Doug Sahm, "Wallflower" (1973)
Doug Sahm was a legend of Tex-Mex rock & roll, from the Sir Douglas Quintet in the 1960s to the Texas Tornados in the 1990s. His first solo album, Doug Sahm and Band in 1972, had a freewheeling cast of friends including Dylan, who contributed "Wallflower," a delightfully ragged waltz about yearning to dance with the shy gal across the room. Dylan plays guitar and sings harmony; Dr. John joins in on organ. Many years later, when Dylan's son Jakob formed his own successful band, he called it the Wallflowers. R.S.
Craig Finn, "Sweetheart Like You" (2014)
"Sweetheart Like You" is one of the man's sharpest Eighties love songs, from the 1983 gem Infidels. (It's become an underrated deep cut now, though it was a MTV hit at the time.) The Hold Steady's frontman Craig Finn gets the elusive tone exactly right: It's the ballad of two lost souls in a bar at closing time, sizing each other up. When Finn sings the title question — "What's a sweetheart like you doing in a dump like this?" — he sounds like a philosopher on a barstool, finding a little poetry in the eyes of a stranger. The most famous line unfortunately sounds as true as ever: "Steal a little and they throw you in jail / Steal a lot and they make you king." R.S.
Caetano Veloso, "Jokerman" (1992)
Veloso's been called Brazil's answer to Bob Dylan, which, as such comparisons will, undersells the uniqueness of both artists. But his stature is comparable, so this take on the opaque Infidels opener, from Veloso's live album Circulado Vivo. has the feel of one culture's titan addressing another's. The Brazilian legend and his band bring an elasticity to the number, which he sings in nimble English as thunderous hand percussion pounds upon a rubbery bassline, the instrumental break. K.H.
The Rolling Stones, "Like a Rolling Stone" (1995)
Dylan took his most famous song title from the Muddy Waters blues classic "Rollin' Stone" — the same place the Stones got their name. (As did a certain magazine.) Given their tangled histories, it made sense for the Stones to pay tribute to Dylan by covering this song. (It basically had to happen, right?) They did "Like a Rolling Stone" on their 1995 live album Stripped, with Mick Jagger wailing away on harmonica. At the end, Keith Richards says, "Thanks, Bob" — a touching salute from one timeless rock & roll pirate to another. R.S.
Yo La Tengo, "I Threw It All Away" (1989)
Beloved indie-rock trio Yo La Tengo have always had impeccable taste in covers, and they've done many Dylan songs throughout their illustrious run, often pulling tunes from the sad, gentle side of the canon. They're version of "I Threw It All Away," off Nashville Skyline, appeared as the final track on their third album, President Yo La Tengo, full of sleepy Hoboken guitar prettiness and sung by Ira Kaplan with careworn late-night intimacy. For more Yo La/Dylan content, check out their arresting, slow-dissolve take on "It Takes a Lot to Laugh, It Takes a Train to Cry," or this great run through "Wallflower," with Lucinda Williams and Janet Weiss, among many other fine offerings. J.D.
Roger McGuinn, "Up to Me" (1976)
Blood on the Tracks is a perfect record and it's hard to quibble with any decision that Dylan made on it. That said, it might have been even more perfect had Dylan included "Up to Me" on it instead of "Lily, Rosemary and the Jack of Hearts." The world didn't hear Dylan's "Up to Me" until the release of Biograph in 1985, but his Rolling Thunder tour mate Roger McGuinn (who knew a thing or two about covering Dylan songs) tackled it on his 1976 LP Cardiff Road. It's hard to make much sense of the lyrics, but when McGuinn sings "I've only got me one good shirt left and it smells of stale perfume/In fourteen months I've only smiled once and I didn't do it consciously" it somehow comes together. A.G.
Nico, "I'll Keep It With Mine" (1967)
Many have recorded this song, from Judy Collins to Fairport Convention, but only Nico could put such a tragically tender spin on a simple song about friendship. She exudes the same melancholy as she does on her cover of Jackson Browne's "These Days," but instead of being lonely, she's offering a helping hand. It's certainly as far away from the imperious image she cast that same year as a singer for the Velvet Underground on songs like "Femme Fatale" and "All Tomorrow's Parties." A.M.
Cheap Trick, "Please, Mrs. Henry" (1977)
In 1971, four years before the song would be released on The Basement Tapes, eclectic English rockers Manfred Mann recorded a great version of "Please, Mrs. Henry," recasting a hobbled lope about being too drunk to function as hard-driving hippie-R&B boogie. It's the takeoff point for Cheap Trick's demolition job live rendition, which definitely inhabits the original song's sloshed spirit, suggesting the Replacements doing a Rolling Stones cover. Cheap Trick's take would in turn serve as the inspiration for the equally hot riff on the song that Silkworm and Stephen Malkmus did as the Crust Brothers. J.D.
The Byrds, "Spanish Harlem Incident" (1965)
One of the most purely playful things the Byrds ever did, and a highlight from their classic debut album. "Spanish Harlem Incident" is a youthful fling, from Another Side of Bob Dylan — the tale of a fresh-faced country kid in the big city, under the spell of a mystic woman. The Byrds jangle it up, making it sound like Dylan's version of a Brian Wilson song. Roger McGuinn sounds like he's trying hard not to crack up in the last verse, but the humor jumps out when the boys sing, "I got to laugh halfways off my heels!" R.S.
Grateful Dead, "Just Like Tom Thumb's Blues" (4/27/85)
The Dead always sounded great playing Dylan — that is, unless Dylan was singing with them. (When he toured with the Dead in the Eighties, not a peak live era for him, they did the maudlin gangster epic "Joey," which was about as much fun as getting shot at Umberto's Clam House.) "Tom Thumb's Blues" became a fan fave for tape traders in the Eighties, with Phil Lesh on lead vocals. He plays around with the lyrics, from "I started out on Heineken but soon hit the harder stuff" to "My best friend, my drummer, won't even tell me what it was that I dropped!" R.S.
Jim James & Calexico, "Goin' to Acapulco" (2007)
Out of all the surreal, WTF moments in Todd Haynes' 2007 Dylan film I'm Not There, Jim James singing this Basement Tapes track in Rolling Thunder-era white face is perhaps the wildest. The performance is included in one of Richard Gere's scenes as Billy the Kid, as an open casket of a woman is propped up and the townspeople gather around to hear James and Calexico. It's not only James' best Dylan covers, but arguably one of his greatest vocal performances ever, as booming horns accompany his lines about visiting Rose Marie, who likes to go to big places. A.M.
Television, "Knockin' on Heaven's Door" (1978)
Television, the original CBGBs garage punks, came up with the idea of turning "Knockin' on Heaven's Door" into a long, brooding guitar warhorse — an idea that a few other bands have tried since then. (Cough, Guns N Roses cough.) Tom Verlaine and Richard Lloyd crank gunshots out of their Fender Jazzmasters, catching all the morbid outlaw angst of the story, but with an extra dose of NYC urban sleaze. They make it worthy to stand next to their original guitar jams like "Marquee Moon" and "Little Johnny Jewel." This 1978 live version was a bootleg fave until it surfaced on Television's posthumous live album The Blow Up. R.S.
Eddie Vedder, "Masters of War" (1993)
Pearl Jam were just starting to break big when Eddie Vedder and Mike McCready were invited to perform at Bob Dylan's 30th anniversary concert at Madison Square Garden. They were sharing the bill with heavyweights like George Harrison, Johnny Cash, Stevie Wonder, Eric Clapton, and Tom Petty, but their haunting rendition of "Masters of War" early in the night was a clear highlight, especially since the Gulf War was a very recent memory at the time. Pearl Jam brought the song into their live show after the outbreak of the Iraq War over a decade later, but they never quite bested this first rendition. A.G.
Rod Stewart, "The Groom's Still Waiting at the Altar" (1995)
Dylan recorded "Groom's Still Waiting At the Alter" in 1981, a rollicking apocalyptic blues-rocker that would've been good enough to make it on Highway 61 Revisited but was deemed unsuitable for the last of Dylan's Christian albums, 1981's Shot of Love. Dylan rectified this odd decision by including the song on subsequent editions of Shot of Love, but since people weren't exactly running out and gobbling up subsequent editions of Shot of Love, it remained an obscurity. Yet, even if it wasn't the most likely song for Rod Stewart to record in the early Nineties, he absolutely bodyslams it, with the raw joyful spirit of his finest Seventies moments. J.D.
The Crust Brothers, "Going to Acapulco" (1998)
In December of 1997, Stephen Malkmus of Pavement and members of the indie-rock band Silkworm got together to play a show in Seattle to benefit the Washington Wilderness Coalition. The crowd was clamoring for Pavement songs. Instead, they got a killer covers set, including "Bitch," "Tuesday's Gone" and seven songs from The Basement Tapes. They opened with "Going to Acapulco," turning a slow, mournful ode to beleaguered escape into a choogled-out guitar banger. When a recording of the show materialized under the title Marquee Mark, it immediately became a bootleg grail, just like The Basement Tapes had been decades earlier. J.D.
Chrissie Hynde and James Walbourne, "Sweetheart Like You" (2020)
Chrissie Hynde has said that when Bob Dylan surprised the world with the release of "Murder Most Foul" a few weeks into pandemic lockdowns in 2020, "It knocked me sideways." It helped her realize just how much Dylan's music has meant to her, so she and Pretenders guitarist James Walbourne set about recording eight Dylan covers to get through the year. One of the best was "Sweetheart Like You," the easygoing Infidels single, which doubles as a pickup line and a Dylan-esque statement of sympathy for the suffering of women everywhere. Hynde sings it in her typically breathy way, enunciating the words in her distinctive way and making lines like "You could be known as the most beautiful woman/Who ever crawled across cut glass to make a deal" cut with more pathos than that of the original. K.G.
Lou Reed, "Foot of Pride" (1993)
Leave it to Lou Reed to perform a super obscure 1983 studio outtake at a Bob Dylan tribute concert in front of 20,000 people at Madison Square Garden and countless more watching on television. A tiny fraction of the audience probably recognized "Foot of Pride" (which was released on the first edition of the Bootleg Series in 1991), but it's hard to imagine that Reed cared. The lyrics ("Like the lion tears the flesh off of a man/So can a woman who passes herself off as a male") seemed custom-made for Reed, and he made it seem like a lost classic from the Velvet Underground catalog. Dylan has never attempted the song live, so this remains the definitive concert version. A.G.
Rosanne Cash, "Girl From the North Country" (2009)
Dylan's good friend Johnny Cash famously duetted with him on this folk ballad for Nashville Skyline in 1969. Cash also included the Freewheelin' Bob Dylan number on a list of "essential" country songs that he passed along to his daughter Rosanne, and it was one that she chose for her album drawn from those selections, The List. With a lovely fingerpicked guitar and Cash's pristine voice, the song becomes a tribute to two great artists from a third. K.H.
Joan Osborne, "Man in the Long Black Coat" (1995)
Dylan's catalog is rife with spooky, ominous parables, and this tale of a woman who leaves her husband to run off with a shadowy stranger — and is never heard from again — is one of his eeriest. "In some kind of weird way, I thought of it as my 'I Walk the Line,'" he wrote in Chronicles Volume One, "a song I'd always considered to be up there at the top, one of the most mysterious and revolutionary of all time." Dylan's version on Oh Mercy sounded, in his word, "deserted," but Osborne's cover slows the tempo just a bit, making the song even more haunting. Almost as if she's singing in the voice of the vanished woman herself, Osborne sounds increasingly desperate as the song continues, while the music stays muted, never giving in to her pleas. "She's gone, she's gone," Osborne ad-libs at the end, and you know she is. D.B.
Bettye LaVette, "It Ain't Me Babe" (2018)
Soul singer Betty LaVette is a peerless song reimaginer, and she puts on yet another master class in interpretation here. In Lavette's hands, "It Ain't Me Babe" becomes more vulnerable, bruised, dejected. The original was a highlight on Things Have Changed, her 2018 collection of Dylan covers. "When people ask me, 'How do you make these songs your own?' she told Rolling Stone that year. "I tell them it's so much easier for me to sound like Bettye Lavette than it is for me to sound like Bob Dylan." J.B.
Gregg Allman, "Going Going Gone" (2017)
Allman made his final album, 2017's Southern Blood, as he was dying of liver cancer, creating a work similar to the swan-song LPs of David Bowie and Leonard Cohen. It's highlighted by this powerful reading of "Going Going Gone," a raggedly beautiful intimation of suicide from 1974's Planet Waves. Allman turns it into an honest, graceful reckoning with his own mortality, gilded with steel guitar and a Southern-soul horn section. When he sings "I'm closing the book on pages and texts/And I don't really care what happens next," it's almost too real to take. J.D.
The Jimi Hendrix Experience, "Like a Rolling Stone" (1967)
When Jimi Hendrix stepped onstage at the Monterey Pop Festival, in the summer of 1967, he was a complete unknown in his native land. But an hour later, he was the guitar hero of all guitar heroes. Hendrix capped his triumphant Monterey homecoming gig by telling the crowd, "I'd like to bore you for about six or seven minutes…I wanna do a little thing by Bob Dylan — that's his grandma over there," pointing to frizzy-haired bassist Noel Redding. "A little thing called 'Like a Rolling Stone.'" Then he turned it into a screaming electric storm, blowing the minds of an audience who'd never heard him before. R.S.
Leon Russell, "Masters of War" (1970)
Leon Rusell's 1970 cover of "Masters of War" is a mere one minute and 24 seconds long, and he stops it after the first verse, leaving the vast majority of it un-sung. But he made the genius decision to sing it to the tune of "The Star-Spangled Banner." This was the height of the Vietnam War and many Americans were incredibly disillusioned by the real-life Masters of War calling the shots in that never-ending nightmare. By taking Dylan's 1963 words and delivering them in this context, he spoke for much of his audience. And even though Dylan never spoke out against the war himself, he gave followers songs like "Masters of War" to use at their discretion. It was never used more effectively than it was here. A.G.
Willie Nelson & Calexico, "Señor (Tales of Yankee Power)" (2007)
The soundtrack to the trippy 2007 Dylan biopic I'm Not There is packed with amazing covers of famous songs like "All Along The Watchtower," "Knockin' On Heaven's Door" and "Maggie's Farm," but Willie Nelson and Calexico dug deep into his catalog for the Street Legal tune "Señor (Takes of Yankee Power)." Like many songs from that time, the lyrics make little sense, but Nelson infuses them with incredible gravitas. He has sang many duets with Dylan over the years and they even wrote the song "Heartland" together, but his voice and Dylan's lyrics have never sounded as majestic together as they do here. A.G.
The Clash, "The Man In Me" (1979)
The mass public didn't come around to Bob Dylan's New Morning deep cut "The Man In Me" until the Coen Brothers used it in their 1998 movie The Big Lebowski, but the Clash beat them to it by a good 19 years when they covered it during the London Calling sessions. As heard on the "Vanilla Tapes" taken from the London Calling Legacy Edition, they transform it into a slow reggae tune, and somehow it fits seamlessly onto the same LP as "Death or Glory" and "Lost In The Supermarket." They never played the song live (or any Bob Dylan song for the matter) and their one-off take was never meant to be heard by the public, but it's brilliant nonetheless. The Dude must definitely would abide. A.G.
Isaac Hayes, "Lay Lady Lay" (1999)
Was any Dylan song better intended for a make-over by the make-out king of R&B? In the Seventies, Hayes reveled in recasting other people's songs into extended, sensual, orchestral vamps. For a 1999 album of Dylan covers, Hayes returned to that turf and proved he hadn't lost any of his moves. "It's too early to go home … Why don't you just chill, relax," he improvs in the intro before amplifying the sexuality of Dylan's Nashville Skyline song. In Hayes' rendition, "You can have your cake and eat it too" takes on an all-new meaning. D.B.
Susanna Hoffs & Rainy Day, "I'll Keep It With Mine" (1984)
In 1984, years before he started Mazzy Star, the late great guitarist David Roback did an album called Rainy Day, covering 1960s faves with friends from L.A.'s neo-psychedelic "Paisley Underground" scene. It was hugely influential, turning postpunk kids on to the Byrds and the Buffalo Springfield. Susanna Hoffs of the Bangles sang two of the highlights: Dylan's "I'll Keep It With Mine" and the Velvets' "I'll Be Your Mirror." (Dylan didn't release his own version of "I'll Keep It With Mine" until his 1985 Biograph box.) Most singers who attempt this tune stumble over the quizzical lyrics, but Hoffs just savors the melody with a smile in her voice — the most purely beguiling version ever heard. R.S.
Grateful Dead, "It's All Over Now, Baby Blue" ( 9/26/72)
The Dead started playing their favorite Dylan tune in their early days, and never stopped. Of all their many Dylan covers, "Baby Blue" was the one they played most often, right up to the year Jerry Garcia died. There's a fine 1981 performance on Postcards of the Hanging, but their toughest "Baby Blue" comes from their legendary Jersey City run, the night of September 26th, 1972. (The following night was released as Dick's Picks Volume 11.) Garcia puts on the chill with his voice and guitar, as if he sees all the song's dire prophecies coming true. R.S.
Siouxsie and the Banshees, "This Wheel's on Fire " (1987)
If anyone could translate Dylan into goth, it had to be Siouxsie. The Eighties icon rode this Basement Tapes classic from Big Pink to the Batcave. Siouxsie and the Banshees took pride in reworking Sixties classics for the black-lipstick crowd; they had a U.K. Top Ten hit with the Beatles' "Dear Prudence," one of the few goth hits about enjoying sunshine. On their 1987 album Through The Looking Glass, they covered Iggy ("The Passenger"), the Doors ("You're Lost Little Girl"), and Dylan. Siouxsie did a trippy performance of "This Wheel's on Fire" on Top of the Pops, vamping in her purple catsuit, doing an awesome version of the goth cobweb-gathering dance. R.S.
Rick Nelson & the Stone Canyon Band, "She Belongs to Me" (1969)
A TV star and teen heartthrob in the 1950s, Ricky Nelson had been trying to move away from his bubblegum image throughout the Sixties, signaling his new phase by dropping the "y" from his first name. By the end of the decade, he hadn't a hit for a while, but his version of Dylan's caustically elegiac ballad eased him back into the Top 40 with a strikingly lovely country-rock treatment in step with the Byrds and Flying Burrito Brothers, featuring a steel guitar player borrowed from Buck Owens' backing band and including future Eagle Randy Meisner on bass. J.D.


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A NEED ARISES
The 2002 Burn was approaching, and David Best was nearing completion of his third and most elaborate sacred structure, The Temple of Joy. But he wasn't feeling joyful about what might happen to his latest creation. He was concerned about the potential for damage, inadvertent fires, and injury to Burners who attempted to climb the Temple walls. So, he contacted friend and fellow artist Termeh Yeghiazarian to brainstorm some possible solutions. What they came up with was the idea of volunteers, Guardian Angels, who would unobtrusively monitor activities in the Temple from 6 p.m. to 6 a.m. daily, gently redirecting unsafe behavior and actions that disrupted the contemplative atmosphere that made the Temple so popular with Burners. It was the birth of the Temple Guardians.
SILENT VOICES
Termeh and David agreed that a staff of four Angels and one lead (who carried the group's only two-way radio and hence was called "The Voice") would provide adequate coverage without intruding on the serenity of the Temple. An additional "Angel in Waiting" stood by in case someone had to drop out during the shift or if something was needed by the team. The earliest Guardian Angels were excited about playing this helper role in the Temple, and wanted to look the part during their shifts by wearing wings. But this idea flew in the face of David and Termeh's agreement to remain unobtrusive, nearly invisible. David told Termeh, "It's our goal to influence the space invisibly while seeming to disappear when not needed." Winged Angels hardly fit into that parameter. Nor did wearing wings or some other type of uniform make the Temple seem "mostly unattended," another of David's goals for the Temple Guardians.
THE HANDKERCHIEF & BELL
Eventually, Termeh and David agreed to a subtler solution: a simple kerchief especially designed to identify Angels. But Termeh had another concern: in the dark, would people be able to locate an Angel visually? And would Guardians be able to find each other? Termeh's solution was a bracelet with a tiny bell, which she made by hand and gave to every Guardian Angel. Despite the fact that the bells were almost impossible to hear in the din of the Playa, both the bracelet and the kerchief remain Guardian traditions to this day.
By the 2003 Burn, Termeh began to feel overwhelmed trying to handle staffing needs for the Temple Guardians using only pencil and paper. She asked one of her volunteers, Tall Tom, for help. Tom applied his expertise in spreadsheets to computerize staffing and assignments, vastly improving administrative efficiency. He would take over as manager in 2005 when Termeh moved on to other work. During this time, the Guardians expanded times that they served, requiring a much larger staff and volunteers.
Meanwhile, the word Angels had disappeared from the organization's nomenclature and volunteers were simply called Guardians.
Leadership of the Temple Guardians changed again in 2006, when Tall Tom was unable to attend the Burn and fellow Guardian Kilika took over the organization. Tom returned for the following two Burns. In 2009, leadership was split between two Burners, Skirblah and Liz. In 2010, Carousel began leading the Temple burn perimeter activity for Guardians, and in 2011, when Liz was expecting a baby and couldn't attend, Carousel became Skirblah's partner. Then, in 2013, Carousel took over as sole manager of the Guardians, it's 5th and longest-serving manager. Carousel brought more change to the Guardians than anyone since Termeh. In particular, he strengthened and professionalized training, work assignments and the organizational structure.
THE GUARDIANS' ROLES EXPAND
From the start, there was a recognition for the need to train the Voices (mostly in how to use the radio), but training was optional for the other volunteers until 2011, when Carousel developed a new training regimen and made it a requirement for all Guardians. The original training outline was just one page in length. Today the training guide consists of nearly 50 pages, including specialized versions of training for new Guardians, experienced Guardians, Voices, Offering Carriers, and Guardians who will be working on the burn perimeter the night of the Temple Burn. It's now a requirement for new as well as experienced Guardians to attend training before signing in for a shift.
THE ORGANIZATION EVOLVES
There were numerous other changes around this same time as the size and importance of the Guardians began to accelerate. The organization became part of the Art Department that year, reporting directly to Bettie June, the department's associate director. As a result of this organizational change and the recognition of their role in maintaining a safe and secure environment in and around the Temple, Guardians garnered additional support as well as added responsibilities.
RADIOS INTRODUCED
One aspect of the Guardian's increased importance to the ethos of Black Rock City was their heightened role in the Sunday night Temple burn. Carousel had earlier become aware of the lack of structure in the Guardian's burn perimeter activity, and set a goal to change that situation. His new plan, introduced in 2011, laid out specific roles for Guardians during burn night and introduced training and communications guidelines that clarified the crucial burn night activities. Fortunately, 2011 was also the year that the Guardians acquired additional radios. They were also assigned a dedicated radio frequency instead of sharing the emergency frequency with others, which was not only critical to burn perimeter activities but to day-to-day Temple operations as well.
A RETURN TO THE BASICS: HOLDING THE SPACE
In seeking additional ways to give Guardians clearer direction and greater structure, Carousel followed in Termeh's footsteps by again seeking out the wisdom of David Best, Burning Man's most prolific Temple builder. Carousel relayed to Bettie June that Best identified the Guardians' role "primarily to look for people who might harm themselves or others, to watch for fire safety issues, and to mostly be an unseen force that appears when needed and mainly leaves people with a sense that they are alone when they need to be and that there is someone who is there when they need that as well."
From this conversation, Carousel and his leadership team developed the concept of "holding the space of the Temple" as the mission of the Temple Guardians, adding it to Liz's "small pushes from great distances" as the strategy to influence behavior while remaining largely invisible.
TRAINING & SUPPORT IMPROVEMENTS
Between 2011 and 2017, training numbers increased from about 40 percent of Guardians taking shifts to 100 percent. In 2016 Carousel asked Cherub – a fellow Ranger and a Guardian since 2011– to become Operations Manager of the Temple Guardians. That year also saw the establishment of Temple Guardians staff camp, designed to provide support to Temple Guardian operations and a permanent home for TG training. Meanwhile, the Guardians had changed reporting relationships and were now part of Marcia's community services organization rather than the Art Department.
THE TORCH PASSES TO CHERUB
Cherub took over as manager of the Temple Guardians in 2018. Carousel remains responsible for training and managing the Temple Burn including the temple closing and the burn perimeter. Cherub brought on Boz as the Communications Lead, who aligned the principles of Temple Guardians with Burning Man's 10 Principles. He also strengthened the communications team established the previous year and introduced an internal publication, the Guardian's Post, that is emailed to all Guardians and interested Burners.
THE TEMPLE GUARDIANS TODAY
Currently, more than 400 individuals volunteer as Guardians throughout the event. A dozen Guardians and two Voices patrol the Temple during each four-hour shift, 24 hours a day every day that the Temple is open. Even before the gates open Guardians will stand watches along the Temple perimeter while the Temple crew completes the build, and will do so again after the Temple has been closed on Sunday morning so the building can be prepared for that night's penultimate event of Burning Man, the Temple burn. Yet another group of especially trained Guardians will carry offerings from Burners to the Temple, often in memory of people they have lost. The offerings will be carefully placed in a safe, but visible spot and burned with the rest of the memorials on Sunday night.
Like the original Angels, each Temple Guardian still wears a bandana designed exclusively for this Burn and to honor the Temple. And each will bear on their wrists an inconspicuous bracelet with a tiny bell attached, just as Guardians have done since 2002.


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Email us: nick@mjnhomes.com
Love That Home's View? See How Much More You'll Pay
by MJN Real Estate April 23, 2018 0 comments
A house with a fabulous view can be hard for a home buyer to resist. But seeing the mountains, water or city lights from the comfort of home comes at a price. The hazy part is figuring out what that added cost is — and whether it's worth it.
That's where real estate appraisers and analysts who study home values can help, even though they recognize there's no simple answer.
"Views are actually really difficult to quantify," says Andy Krause, principal data scientist at Greenfield Advisors, a real estate research company. "It's somewhat subjective. What makes a better water view? Do you want it to be wider? Do you want more of the water from a taller angle? You know, some of that is in the eye of the beholder."
Assigning a dollar value can also be difficult because not all views are equal or valuable, and a view that's sought-after in one location may not be in another.
In Manhattan, a place that overlooks a green space or woods will cost you a lot extra. In the countryside? Not as much, says Mauricio Rodriguez, a real estate expert who chairs the finance department at Texas Christian University's Neeley School of Business.
Putting a price on it
So how do you put a price on a variety of views? Krause, who builds automated valuation models that analyze home data, produced these estimates for what five different types of views might add to a home's price in Seattle:
5 to 10%: For a home on flat ground with an unobstructed view of an open space or a park, a seller could add 5 to 10%. In other words, if an identical home without a view is worth $500,000 elsewhere in Seattle, this view could boost the price to $525,000 to $550,000.
10 to 30%: A home partway up a hill with a partially obstructed water view over neighbors' rooftops could increase the overall price by 10 to 30%. It depends on how much of your field of vision the view fills, both vertically and horizontally, Krause says. In this example, a home otherwise worth $500,000 might fetch $550,000 to $650,000.
30 to 50%: This time Krause considered the same home as above, in the same location, but with an unobstructed view. "You still have the neighbors above looking down into your house, but you have a nice water view," he says. With this clearer view, the $500,000 home could sell for $650,000 to $750,000.
50 to 75%: Next, envision a home atop a hill with an unobstructed cityscape or open-space vista. To buy the $500,000 home in this location, a buyer might have to pay $725,000 to $875,000.
75-100% or more: Finally, imagine a house with a stunning, unobstructed view of a big lake or the ocean. This type of prized view can boost the value of a home worth $500,000 in an ordinary location to $1 million or more, Krause says.
How to shop for a home with a view
If having a view is a must on your homebuying list, here are a couple of tips from the experts:
1. Find out if the view is protected
Frank Lucco, a residential real estate appraiser and consultant in Houston, once had clients with an expensive home who sued after a high-rise office tower went up across the street. The building disrupted their view and gave office workers a view of their formerly private backyard and their teenage daughters using the pool. The lawsuit was dismissed, Lucco says, and a bit of detective work could have told them that commercial development was allowed.
To avoid a similar outcome, Lucco says before you place a bid on a home, ask planning authorities what the zoning allows and if high-impact developments are planned nearby.
2. Look for diamonds in the rough
Bargain-hunters can occasionally find views for cheap because poor design — walls where a big window or a deck might go, for instance — blocks what should be a nice view.
"It may cost you $15,000 to $30,000 to do a very limited remodel that gives you a better angle, or higher vantage point, or a rooftop deck," Krause says. But that could be a deal compared with buying a home that already takes full advantage of its view. Lucco suggests inspecting the home's deed for any restrictions limiting additions to the height. Pay careful attention to homeowner association rules, too.
A view can be one of the most attractive aspects of a home. Knowing that you paid the right price for it can make the scenery that much more enjoyable.
The article Love That Home's View? See How Much More You'll Pay originally appeared on NerdWallet.
MJN Real Estate ~ (760) 803-7436 ~ 1002 D St ~ Red Barn, Ramona, CA 92065 ~ Calif. DRE #02054304. ~ Nicholas Deseno - Broker
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Human Resources welcomes you to the Supervisor Resource page, a comprehensive page designed to assist you in your role as a supervisor.
From overseeing tasks, to leading large divisions, managers and supervisors at UMKC are integral to the universities' success. The resources in this section will help department chairs, supervisors, and hiring managers accomplish many of their routine daily tasks more efficiently.
As a supervisor, there is always opportunity to learn and grow. The trending topics section is a resource for you as a supervisor to keep you up to date on things going on within UMKC and in the world of management and leadership.
The process of hiring new staff can be a stressful task for many supervisors. The goal of the Recruiters in Human Resources is to make this process as smooth as possible for all individuals involved. Our Recruiters provide Full Cycle Recruitment Services, which includes creating a customized recruitment plan from the time your position opens all the way to onboarding of your new employee. Each department is assigned to one of our recruiters for all their hiring needs.
View the Recruitment Services page for more information.
Onboarding at UMKC is more than an event, it's an engaging experience designed to make the new employee feel welcome in their surroundings, and minimize the time it takes to become productive members of their department. It begins before the new employee steps foot on our campus with preparing the new employee's workspace, designing a first-day schedule that intentionally connects the new employee with existing team members to help them get acclimated and up to speed, and setting short and long term goals that include relevant training and development opportunities.
Our goal is to positively impact student success through this new onboarding program by retaining a highly competent, diverse and engaged workforce. As the supervisor, we need your assistance in providing your new employee with an onboarding experience that will set them up for success in their new role at UMKC.
To support you and your employee during the onboarding process, we have created a number of resources for supervisors to use and put everything together into a resource guide. We recommend saving this guide or printing it out once you have hired a new employee to get you started with a successful onboarding process.
A number of resources from the guide are located below, but we recommend looking at the guide for more detailed information.
The process of successfully onboarding a new employee is very detailed, please reference the checklists below to make sure you and your new employee are on the right track.
Welcoming your New Employee Checklist: A checklist for supervisors to welcome their new employees to UMKC.
New Employee Checklist: A checklist for new employees to guide them through their onboarding experience.
Checklist for New Supervisors: A checklist for new employees who supervise employees at UMKC.
Performance Management is not something that only gets done during the annual appraisal process, it should be done throughout the year with your employees. At UMKC, the myPerformance tool can be used throughout the year for goal setting, journaling, and development planning.
At UMKC, Annual Performance Appraisals are completed annually in the Spring/Summer. The annual performance appraisal focuses on seven standard success factors: Accountability, Collaboration, Communication, Customer Focus, Diversity & Inclusion, Judgement, and Time Management.
As a supervisor, it is encouraged for you to complete the myPerformance myLearn training courses before the performance appraisal begins.
View the MyPerformance page for more information.
Click the read more button for information on Setting Employee Expectations, Coaching Employee Behavior & Employee Recognition.
Discussing employee performance and expectations is something that should happen early and often in the supervisory experience. As a supervisor, one of the first things you should do is have a conversation with your employees regarding your expectations of them. Expectations should then be reviewed regularly at one-on-one meetings with your employees.
Expectations are important to provide a guide for employees to know what they need to be doing from day to day. Having clear expectations is also helpful for managers when employees are not meeting expectations. It provides support during the coaching or discipline process and can be used as a reference and guide for what behaviors and actions are expected of employees.
If there is something that an employee is doing or not doing that is outside of the expectations set for them, the first step to correcting the behavior is coaching. Coaching consists of having an intentional conversation with the employee to point out what expectations are not being met and to reiterate the expectations for the employee. This is typically a private conversation with the supervisor and employee. During this conversation, it is important to make sure that the employee is understanding the expectations. It is also important to ask what you, as a supervisor can do to help the employee meet the expectation. Once the coaching moment is completed, it is recommended that the supervisor send a follow-up email to the employee to reiterate the expectations.
The act of recognizing employees doesn't need to be grand, often it takes little time and will provide many benefits. The easiest form of recognition is simply using positive and encouraging words to recognize and reinforce desired behaviors.
There are expectations for employees that need to be met in order for UMKC to continue to be successful. Employee expectations might seem trivial, but overtime if an employee is not meeting expectations, the result could be significant for the university. As a supervisor, it is important to know the expectations for your employees and to have continuous conversations with them about the expectations. Unfortunately, there are times when employees don't meet expectations and steps have to be taken to discipline the employee. The process of disciplining employees is a difficult task for most supervisors, please know that Human Resources is here to help you through this process.
In all instances where you believe that formal disciplinary action may be appropriate, please contact the Human Resources Office for assistance.
1 Understand the facts and circumstances: The supervisor must have an understanding of the facts and circumstances before assessing appropriate discipline.
2 Discuss situation with Human Resources; When you become aware of a problem, the best step is to contact employee relations to discuss if discipline is an appropriate course of action.
3 Complete the discipline submission form and submit to HR.
4 HR will review submission and documentation provided and employee file and will send completed discipline documentation to supervisor for administration to employee.
5 Supervisor presents discipline documentation to employee and receives employee signature (for written warning and suspension).
6 Signed discipline documentation is sent to HR to be added to employees official employee file.
*The process outlined above may not be appropriate in every situation. The level, nature and seriousness of the situation will be reviewed by HR when situation is initially discussed and during review of discipline documentation.
Discipline should not generally come as a surprise to the employee. Occasionally employees are unaware of their supervisors' dissatisfaction until they suddenly receive a formal written reprimand or a letter of termination. Try to avoid this situation if possible and attempt to regularly communicate issues to employees rather than wait until the performance problems can no longer be tolerated or until annual performance reviews are conducted.
Progressive discipline is utilized for regular administrative, service and support staff who are not in the probationary period, and may include oral warning, written warning, suspension, and ultimately discharge. Exempt employees are not typically subject to progressive discipline.
The goals of progressive discipline are to: inform the employee of inadequacies in performance or instances of improper behavior; clarify what constitutes satisfactory performance or behavior; instruct the employee on what action must be taken to correct the performance or behavior problem; and inform the employee of what action will be taken in the future if the expectations are not met.
The discipline process for exempt employees varies depending on the behaviors exhibited and the department.
A Memo-to-File is the primary method of disciplinary action for exempt employees. This action provides the employee with a memo, that is also placed in the employee file, stating that their behavior and performance is not meeting expectations and failure to improve will result in termination of their employment.
If an exempt employee is not meeting the supervisors expectations, please contact the Human Resources Office to discuss the appropriate actions.
Creating a work/life balance for employees is something UMKC prides its self on. With continual advances in technology and increases in an employee's personal life, the ability to be flexible is more important than ever as we continue to attract the top talent for our positions. As a result, the university has several flexible work arrangement opportunities for employees to take advantage which allow employees to work outside of the standard 8:00 a.m. to 5:00 p.m. work schedule and outside of the office location.
More Information on Flexible Work Arrangements, including guides and forms, can be found on the UM System Total Rewards page.
UMKC employees needing a leave of absence under the Family Medical Leave Act (FMLA), should contact Megan Gonzalez (Employee Relations) or Jane Boyd (HR Service Center) in Human Resources and ask for a Family Medical Leave (FMLA) packet to be sent to them. This outreach can be done by the employee who needs the medical leave, the supervisor, or the department HRF.
As a supervisor, its important know the basics of FMLA and to be on the lookout for employees who might need to utilize FMLA leave. To review eligibility requirements for FMLA and additional information, please sign up to attend the FMLA training session and/or review the Supervisors Guide to FMLA.
UMKC is committed to providing reasonable accommodations for employees who have a disability or chronic medical condition. These experiences can be very different for each individual employee and may include concerns with communication, hours, interactions with others, concentration, etc.
As a supervisor, it is important for you to know how to recognize and respond to a potential accommodation request. You should consult with Human Resources or the Affirmative Action Office if you have any questions.
You receive a doctor's note indicating that your employee needs to take lunch at 11:30 am every day.
The Affirmative Action Office will work to provide reasonable accommodations where able and as long as it does not impose undue hardship on the department.
The Human Resources Office provides many training and professional development opportunities for both supervisors and their employees. As a supervisor, it's important to not only know what resources are available to you as a supervisor, but it's also important to know what resources are available to your employees. There are a number of free options available on campus and several off-campus opportunities as well. There are also resources to help pay for outside opportunities that are more in line with an employee's specific position and duties.
To view a full list of training opportunities and resources, visit the Professional Development page.
Being a new supervisor at UMKC, there are plenty of opportunities through myLearn to assist new supervisors at the university. Additionally, the Human Resources office is also available for 1:1 coaching and guidance.


text:
»Topic»french-open
french open News
Barty: Turning down Murray was hardest decision but a million girls will jump at Wimbledon chance
Saturday, June 22, 2019, 00:40 [IST]
London, June 22: Ashleigh Barty said it was "definitely the hardest decision" of her career after turning down Andy Murray's invitation to play mixed doubles at...
Birmingham, June 20: French Open champion Ashleigh Barty continued her superb form with a straight-sets win over Donna Vekic at the Birmingham Classic. Fresh...
Nadal like a Matisse masterpiece - Kuerten salutes French Open champion
Paris, June 10: Rafael Nadal tasted success at the French Open for a 12th time and was likened to a "masterpiece" Matisse painting by Gustavo Kuerten. World...
French Open diary: A mixed day for Thiem and Mladenovic
Paris, June 10: Rafael Nadal claimed his 12th French Open title as this year's tournament at Roland Garros came to an exhilarating conclusion. The record-breaking...
Nadal opts against grass tournament before Wimbledon
Paris, June 10: Rafael Nadal will not play in a grass-court tournament before Wimbledon to ensure he is fully fit for the third Grand Slam of the year. Nadal beat...
French Open champion Nadal is still getting better, says Thiem
Paris, June 10: Rafael Nadal is continuing to improve despite his advancing years, according to defeated French Open finalist Dominic Thiem. La Coupe des...
Peerless Nadal makes history again with 12th French Open title
Sunday, June 9, 2019, 21:50 [IST]
Paris, June 9: The irrepressible Rafael Nadal produced yet another clay-court masterclass to overcome a superb effort from Dominic Thiem and make history with an...
The 'ultimate challenge'? The numbers behind Thiem's mission impossible against Nadal
Paris, June 9: Dominic Thiem will get a second crack at what has proved mission impossible for over a decade when he takes on the 'King of Clay' Rafael Nadal in...
Clinical Barty beats nervy Vondrousova to win French Open
Paris, June 8: Ruthless Ashleigh Barty blew a nervy Marketa Vondrousova away in a one-sided French Open final to win her first grand slam singles title. The...
Terrific Thiem ends Djokovic's hopes of holding all four majors
Paris, June 8: Dominic Thiem ended Novak Djokovic's hopes of holding all four majors simultaneously for the second time in his career with a hugely impressive...
French Open diary: Kuerten sits down for an interview and patriotism on the metro
Paris, June 8: The women's French Open final will be contested by Marketa Vondrousova and Ashleigh Barty after they won their last-four clashes, but only one of...
French Open: Poor Paris weather halts Thiem momentum against Djokovic
Friday, June 7, 2019, 23:00 [IST]
Paris, June 7: Dominic Thiem will resume on Saturday with a slender lead over Novak Djokovic after bad weather prevented their French Open semi-final from being...
We're not retiring yet - Nadal hopeful of more Federer Paris battles
Paris, June 7: Rafael Nadal is hopeful he has not faced Roger Federer for the last time at the French Open as the legendary duo are having too much success to...


Tasked with facilitating safe interactions between visitors and animals, Grand Teton's Wildlife Brigade members are part ambassadors, part compliance officers. This valuable group of volunteers manages roadside "wildlife jams," patrols picnic areas for unsecured food, and shares educational information with visitors. By funding resources for topnotch volunteer training and everyday equipment needs, the Foundation ensures the Brigade's effective operation year after year.


text:
Q: Android 'InvocationTargetException' and 'UnsupportedOperationException' I have encountered a problem on OPPO X905 and OPPO X907, both are of Android 4.0.3(API Level 15), I haven't used any higher level API, and I have searched on Google and SO, all are different from my problem, below are my xml file and crash log, thanks in advance.
xml file:(the margin of divider was originally 7.5dp, could this be the problem?)
<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:id="@+id/item_full"
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:background="#eff0f7"
    android:baselineAligned="false"
    android:orientation="vertical" >
    <RelativeLayout
        android:id="@+id/item_first_half"
        android:layout_width="match_parent"
        android:layout_height="36dp"
        android:orientation="vertical" >
        <View
            android:id="@+id/first_path"
            android:layout_width="4dp"
            android:layout_height="4dp"
            android:layout_marginLeft="40dp"
            android:layout_marginStart="40dp"
            android:background="@drawable/selector_car_action_path" />
        <ImageView
            android:id="@+id/im_car_direction_icon"
            android:layout_width="28dp"
            android:layout_height="28dp"
            android:layout_gravity="top"
            android:layout_marginLeft="28dp"
            android:layout_marginStart="28dp"
            android:layout_marginTop="4dp"
            android:background="@drawable/selector_car_action_background"
            android:padding="2dp"
            android:src="@drawable/selector_navi_icon_63" />
        <View
            android:id="@+id/second_path"
            android:layout_width="4dp"
            android:layout_height="4dp"
            android:layout_below="@id/im_car_direction_icon"
            android:layout_marginLeft="40dp"
            android:layout_marginStart="40dp"
            android:background="@drawable/selector_car_action_path" />
        <TextView
            android:id="@+id/tv_direction"
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:layout_centerVertical="true"
            android:layout_marginEnd="15dp"
            android:layout_marginLeft="68dp"
            android:layout_marginRight="15dp"
            android:layout_marginStart="68dp"
            android:singleLine="true"
            android:text=""
            android:textColor="@drawable/selector_car_route_turn_text"
            android:textSize="16sp" />
    </RelativeLayout>
    <RelativeLayout
        android:id="@+id/item_second_half"
        android:layout_width="match_parent"
        android:layout_height="32dp" >
        <View
            android:id="@+id/third_path"
            android:layout_width="4dp"
            android:layout_height="match_parent"
            android:layout_marginLeft="40dp"
            android:layout_marginStart="40dp"
            android:background="@drawable/selector_car_action_path" />
        <TextView
            android:id="@+id/tv_road_name"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_marginLeft="68dp"
            android:layout_marginStart="68dp"
            android:layout_marginTop="4dp"
            android:singleLine="true"
            android:text=""
            android:textColor="@drawable/selector_car_route_desc"
            android:textSize="16sp" />
        <TextView
            android:id="@+id/divider_for_road_and_distance"
            android:layout_width="wrap_content"
            android:layout_height="match_parent"
            android:layout_marginEnd="7dp"
            android:layout_marginLeft="7dp"
            android:layout_marginRight="7dp"
            android:layout_marginStart="7dp"
            android:layout_marginTop="4dp"
            android:layout_toEndOf="@id/tv_road_name"
            android:layout_toRightOf="@id/tv_road_name"
            android:singleLine="true"
            android:text="|"
            android:textColor="@drawable/selector_car_route_desc"
            android:textSize="16sp" />
        <TextView
            android:id="@+id/tv_ride_distance"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_marginEnd="15dp"
            android:layout_marginRight="15dp"
            android:layout_marginTop="4dp"
            android:layout_toEndOf="@id/divider_for_road_and_distance"
            android:layout_toRightOf="@id/divider_for_road_and_distance"
            android:singleLine="true"
            android:text=""
            android:textColor="@drawable/selector_car_route_desc"
            android:textSize="16sp" />
        <View
            android:layout_width="match_parent"
            android:layout_height="1px"
            android:layout_alignParentBottom="true"
            android:layout_marginEnd="15dp"
            android:layout_marginLeft="68dp"
            android:layout_marginRight="15dp"
            android:layout_marginStart="68dp"
            android:background="#dee1f0" />
    </RelativeLayout>
</LinearLayout>

The drawable/selector_car_route_desc file is
<?xml version="1.0" encoding="utf-8"?>
<selector xmlns:android="http://schemas.android.com/apk/res/android">

    <item android:state_selected="true" android:color="@color/color_999999"/>
    <item android:state_selected="false" android:color="@color/color_333333"/>

</selector>

crash log:
android.view.InflateException: Binary XML file line #106: Error inflating class <unknown>
android.view.LayoutInflater.createView(LayoutInflater.java:606)
com.android.internal.policy.impl.PhoneLayoutInflater.onCreateView(PhoneLayoutInflater.java:56)
android.view.LayoutInflater.onCreateView(LayoutInflater.java:653)
android.view.LayoutInflater.createViewFromTag(LayoutInflater.java:678)
android.view.LayoutInflater.rInflate(LayoutInflater.java:739)
android.view.LayoutInflater.rInflate(LayoutInflater.java:742)
android.view.LayoutInflater.inflate(LayoutInflater.java:489)
android.view.LayoutInflater.inflate(LayoutInflater.java:396)
android.view.LayoutInflater.inflate(LayoutInflater.java:352)
com.tencent.map.ama.route.ui.view.e.<init>(CarRouteShowItem.java:78)
com.tencent.map.ama.route.ui.view.f.a(CarRouteShowView.java:100)
com.tencent.map.ama.route.ui.view.d.a(CarRouteDetailView.java:37)
com.tencent.map.ama.route.ui.MapStateCarRoute.e(MapStateCarRoute.java:418)
com.tencent.map.ama.route.ui.MapStateCarRoute$1.run(MapStateCarRoute.java:255)
android.os.Handler.handleCallback(Handler.java:605)
android.os.Handler.dispatchMessage(Handler.java:92)
android.os.Looper.loop(Looper.java:137)
android.app.ActivityThread.main(ActivityThread.java:4476)
java.lang.reflect.Method.invokeNative(Native Method)
java.lang.reflect.Method.invoke(Method.java:511)
com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:808)
com.android.internal.os.ZygoteInit.main(ZygoteInit.java:575)
dalvik.system.NativeStart.main(Native Method)
cause by:
java.lang.reflect.InvocationTargetException: null
java.lang.reflect.Constructor.constructNative(Native Method)
java.lang.reflect.Constructor.newInstance(Constructor.java:417)
android.view.LayoutInflater.createView(LayoutInflater.java:586)
com.android.internal.policy.impl.PhoneLayoutInflater.onCreateView(PhoneLayoutInflater.java:56)
android.view.LayoutInflater.onCreateView(LayoutInflater.java:653)
android.view.LayoutInflater.createViewFromTag(LayoutInflater.java:678)
android.view.LayoutInflater.rInflate(LayoutInflater.java:739)
android.view.LayoutInflater.rInflate(LayoutInflater.java:742)
android.view.LayoutInflater.inflate(LayoutInflater.java:489)
android.view.LayoutInflater.inflate(LayoutInflater.java:396)
android.view.LayoutInflater.inflate(LayoutInflater.java:352)
com.tencent.map.ama.route.ui.view.e.<init>(CarRouteShowItem.java:78)
com.tencent.map.ama.route.ui.view.f.a(CarRouteShowView.java:100)
com.tencent.map.ama.route.ui.view.d.a(CarRouteDetailView.java:37)
com.tencent.map.ama.route.ui.MapStateCarRoute.e(MapStateCarRoute.java:418)
com.tencent.map.ama.route.ui.MapStateCarRoute$1.run(MapStateCarRoute.java:255)
android.os.Handler.handleCallback(Handler.java:605)
android.os.Handler.dispatchMessage(Handler.java:92)
android.os.Looper.loop(Looper.java:137)
android.app.ActivityThread.main(ActivityThread.java:4476)
java.lang.reflect.Method.invokeNative(Native Method)
java.lang.reflect.Method.invoke(Method.java:511)
com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:808)
com.android.internal.os.ZygoteInit.main(ZygoteInit.java:575)
dalvik.system.NativeStart.main(Native Method)
cause by:
java.lang.UnsupportedOperationException: Can't convert to dimension: type=0x12
android.content.res.TypedArray.getDimensionPixelSize(TypedArray.java:463)
android.view.View.<init>(View.java:2849)
android.widget.TextView.<init>(TextView.java:499)
android.widget.TextView.<init>(TextView.java:492)
java.lang.reflect.Constructor.constructNative(Native Method)
java.lang.reflect.Constructor.newInstance(Constructor.java:417)
android.view.LayoutInflater.createView(LayoutInflater.java:586)
com.android.internal.policy.impl.PhoneLayoutInflater.onCreateView(PhoneLayoutInflater.java:56)
android.view.LayoutInflater.onCreateView(LayoutInflater.java:653)
android.view.LayoutInflater.createViewFromTag(LayoutInflater.java:678)
android.view.LayoutInflater.rInflate(LayoutInflater.java:739)
android.view.LayoutInflater.rInflate(LayoutInflater.java:742)
android.view.LayoutInflater.inflate(LayoutInflater.java:489)
android.view.LayoutInflater.inflate(LayoutInflater.java:396)
android.view.LayoutInflater.inflate(LayoutInflater.java:352)
com.tencent.map.ama.route.ui.view.e.<init>(CarRouteShowItem.java:78)
com.tencent.map.ama.route.ui.view.f.a(CarRouteShowView.java:100)
com.tencent.map.ama.route.ui.view.d.a(CarRouteDetailView.java:37)
com.tencent.map.ama.route.ui.MapStateCarRoute.e(MapStateCarRoute.java:418)
com.tencent.map.ama.route.ui.MapStateCarRoute$1.run(MapStateCarRoute.java:255)
android.os.Handler.handleCallback(Handler.java:605)
android.os.Handler.dispatchMessage(Handler.java:92)
android.os.Looper.loop(Looper.java:137)
android.app.ActivityThread.main(ActivityThread.java:4476)
java.lang.reflect.Method.invokeNative(Native Method)
java.lang.reflect.Method.invoke(Method.java:511)
com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:808)
com.android.internal.os.ZygoteInit.main(ZygoteInit.java:575)
dalvik.system.NativeStart.main(Native Method)

the code of CarRouteShowItem.java:78 is like this:
View mView = LayoutInflater.from(mContext).inflate(R.layout.car_route_detail_item, null);

The CarRouteShowItem is not child of View, its code is as follows:
public class CarRouteShowItem {

    private Context mContext;

    private View mView;

    public CarRouteShowItem(Context context) {
        mContext = context;

        // mView is used by caller
        mView = LayoutInflater.from(mContext).inflate(R.layout.car_route_detail_item, null);

        // some view finds
    }

        // some other methods related with specific logic
}

The graphic layout could preview in the Eclipse from API level 8 to API level 23, but when I preview it in Android Studio on API level 15, it gives the error message:Couldn't resolve resource @style/Widget.TextView, other API levels are OK, but I haven't use the style for TextView.

A: All you need is an extra eye :-)

 android:layout_height="1px"

hope you can see now. The last child in your second RelativeLayout with id item_second_half of type <View change it to
android:layout_height="1dp"

let me have my eye back as soon as possible

A: I think the problem is somewhere in @style/ referenced in AppTheme. Try to remove all of them (reset to default) and add one-by-one until the crash occurs. This way you can find the style that has wrong attributes.
if you see down on your log error you will see that the InvocationTargetException occurs by java.lang.UnsupportedOperationException: Can't convert to dimension: type=0x12
UPDATE
I noticed something bad in your xml file, you are using text color as "drawable", you have to use colors xml file (example)
UPDATE AGAIN
after more search i found this file if you see the 499 and 492 line (that appears on logerror) you will see that maybe it couldn't find style for textview

redpajama_set_name: RedPajamaStackExchange


During my recent adventures with alcohol inks I enjoyed creating abstract panels. Some of them I turned into backgrounds or scenes by adding stamps and die cuts but others I left alone because I liked the pattern and colours just as they were. The one above reminds me of a geological cross section. There is an example of some type of cross section down the road from us and a few times a year I see a class of students on a field trip climbing around taking photos. The blues in the design above are particularly pretty in real life and there are threads of copper here and there also.
This abstract reminds me of a waterfall but several people saw icebergs and crevices in it. Both these designs were done on yupo paper. I started as I often do by just dropping three colours of ink on the yupo; the sharp edges and lines were achieved by dragging the inks across the paper with a coffee stirrer. I don't remember the ink colours I used other than the copper in the top one.
First of all, the cards are stunning! Secondly, I'm thrilled you can leave them alone and not add anything to the cards, letting them stand on their own merit….which I totally agree with. I'm doing it more and more too and feel really good about it! Less is definitely more in many cases.
Thanks Marilyn for your encouragement. I love the gorgeous patterns that appear with watercolours and alcohol inks. I don't really create them the magic happens right before my eyes.
I really like these two panels……especially the second one. I've used alcohol inks but haven't come up with anything like you did. I tend to be too rigid and want to "fix" them.
These are great! Have you tried Yupo paper? I bought some but haven't tried it yet.
These abstracts were done on yupo. It is very forgiving as the ink only sits on the surface. It is possible to make changes over and over.
Thanks. Can't wait to try this!
I love this kind of thing that pictures form and reform. The 2nd one is especially 3-D. Well done! Thank you.
I love what you do with alcohol inks especially these abstract art pieces. Just stunning!
Heather, are you using translucent Yupo or the white Yupo?
Heather, I keep coming back to these to look at them over and over. They are amazing. Mine have never turned out like that. makes me want to try them again. And I've never used the browns, so now I have a reason to use them. Love your work!


text:
Stenochiton nubilus är en blötdjursart som först beskrevs av Cochran 1993.  Stenochiton nubilus ingår i släktet Stenochiton och familjen Ischnochitonidae. Inga underarter finns listade i Catalogue of Life.

Källor

Ledsnäckor
nubilus

redpajama_set_name: RedPajamaWikipedia


ICEE is highly experienced in designing and building bespoke outdoor metal enclosures for many different industries.
Our enclosures are secure, vandal-proof and long-life housings with climate control and are specifically designed for telecommunications and ancillary equipment but can be adapted to suit many different industries.
We can manufacture from one-off or prototypes to large-quantity batch work.
The capability to cut intricate shapes utilising cold cutting techniques that are without thermal influences, heat distortion, edge hardening or heat-affected zones of virtually any material. Our waterjet is capable of cutting 4,000 x 2,000 x 200mm thicknesses.
The benefits of fibre laser over conventional CO2 lasers include reduced cutting times, wider material range and less heat used.
ICEE has the capability of applying its knowledge of fabricating enclosures to a wide range of sheet-metal fabrication projects. We have a 4mm brake press for larger requirements (we use this in the manufacturing of our enclosures) and a smaller brake press.


text:
Q: Do you know any dynamic instrumentation tool for Android with multi-device support (ideally in Python or Jython)? For my CI infrastrucure I need to automatically deploy and run complex tests between two (or more) android phones from a controler machine (linux).
So far android monkeyrunner in combination with android unit tests is not a satisfactory solution:

*

*monkeyrunner does not call single methods from a remote app and can't address UI components by their id

*writing java tests cases with ActivityInstrumentationTestCase2 is too expensive (loC) and does not provide enough flexibility for interacting between two devices

*robotium.org is a step in the right direction but is in java (not dynamic) and not multidevice yet

*all other solutions I found does not allow interactive testing thx to dynamic scripting

Any suggestion?

A: There is a tool called AndroidViewClient which extends the usability of monkeyrunner. You can address UI components by ID with it, check their properties and so on.
Here's the link:
https://github.com/dtmilano/AndroidViewClient

A: Have you looked at MonkeyTalk?
Here:
http://www.gorillalogic.com/testing-tools/monkeytalk