text:
Q: Android Studio wrong text is set to TextView in RecyclerView
I have some ArrayLists where Products are inserted and I have the
  problem, that in itemTextView is set an text, which is not in this
  ArrayList. What am I doing wrong? Please answer.

I have tried to solve this problem for like about one week. When I'm making a Toast message with itemTexte2.get(i).toString() it shows the wright text, but when I'm adding it to the TextView with shows the wrong text in the recycler view
public class RvAdapterKlasse extends RecyclerView.Adapter<RvAdapterKlasse.ViewHolderKlasse> {

    DatabaseHelper mDatabaseHelper;

    static TextView itemTextView, unitItemTextView;
    static ImageView itemImageView;
    static CheckBox checkBox;

    static ArrayList<Integer> positions = new ArrayList();

    public class ViewHolderKlasse extends RecyclerView.ViewHolder {

        public ViewHolderKlasse(@NonNull final View itemView) {

            super(itemView);

            mDatabaseHelper = new DatabaseHelper(itemView.getContext());

            itemTextView = itemView.findViewById(R.id.textViewItem);
            itemImageView = itemView.findViewById(R.id.imageViewItem);
            unitItemTextView = itemView.findViewById(R.id.unitTextViewItem);
            checkBox = itemView.findViewById(R.id.checkBox);

        }
    }

    @NonNull
    @Override
    public ViewHolderKlasse onCreateViewHolder(@NonNull ViewGroup viewGroup, int i) {

        View itemView1 = LayoutInflater.from(viewGroup.getContext()).inflate(R.layout.item_layout1, null);

        return new ViewHolderKlasse(itemView1);
    }

    @Override
    public void onBindViewHolder(@NonNull final ViewHolderKlasse viewHolderKlasse, final int i) {

        Toast.makeText(unitItemTextView.getContext(), itemTexte2.get(i).toString(), Toast.LENGTH_SHORT).show();

        itemTextView.setText(itemTexte2.get(i).toString());
        unitItemTextView.setText(itemTexte2.get(i).toString());
        itemImageView.setImageResource(R.drawable.dots);

        viewHolderKlasse.itemView.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View v) {

            }
        });

        viewHolderKlasse.itemView.setOnLongClickListener(new View.OnLongClickListener() {
            @Override
            public boolean onLongClick(View v) {

                Intent intent = new Intent(v.getContext(), PriceActivity.class);
                String text = ((TextView) MainActivity.recyclerView1.findViewHolderForAdapterPosition(i).itemView.findViewById(R.id.textViewItem)).getText().toString().trim();
                intent.putExtra("product", text);
                v.getContext().startActivity(intent);

                return false;
            }
        });

        checkBox.setOnCheckedChangeListener(new CompoundButton.OnCheckedChangeListener() {
            @Override
            public void onCheckedChanged(CompoundButton buttonView, boolean isChecked) {

            }
        });

    }

    @Override
    public int getItemCount() {

        return itemTexte2.size();

    }

}

A: You have defined itemTextView as a static TextView. This means that you only have one of these for all of your items. You need one for each view holder.
Remove the static definition for itemTextView and define a class member variable named itemTextView in your view holder ViewHolderKlasse. You will then set this variable in onBindViewHolder() like this:
viewHolderKlasse.itemTextView.setText(itemTexte2.get(i).toString());

This should solve this problem. You have other static fields that you will also need to address.


text:
"In my mind, we were going to win today and the Giants were going to lose. That was the way I went into this game, thinking that we had to win today and we were going to have another chance to play," Wainwright said. "We did our job. We won the game, but the Giants also won.
"But I did want to leave this season on a good note, and I felt I did that."
Ten times this season, St. Louis had an opportunity to climb 10 games over .500. Finally, on Sunday the Cardinals reached that mark, only to look toward the offseason.
"Every time we got rolling a little bit, we would have a couple-of-games hiccup to put us almost back where we started," Wainwright said. "That's the regret we'll have, knowing that we could have played a lot better baseball throughout the season."
Wainwright, who finished 13-9, allowed two runs on six hits, with three walks and eight strikeouts. He was certain he would be so focused on his performance that he wouldn't gander at the scoreboard to check on the Giants. He was wrong.
"I didn't think I would watch it very closely. I was worried about my own game," Wainwright said. "But I watched the score every inning. When they went up 5-1, you could see our dugout kind of deflate a little bit. You just can't believe you don't have another chance at it. That's the sad thing. We don't have one more chance at it.
"We could have done something just like we did in '06 if we had given ourselves a little better chance."
The Cardinals' two losses in the final seven-game homestand were against Cincinnati. They were thumped 15-2 on Monday, but the game that hurt the worst was the 2-1 defeat Wednesday.
In that game, the Cardinals stranded runners at second and third in the sixth and eighth, and left a runner on third in the ninth. In the eighth, Stephen Piscotty struck out and Jhonny Peralta grounded out. In the ninth, Kolten Wong led off with a pinch-hit triple, bu Aledmys Diaz grounded out, Greg Garcia popped out to short left and Jedd Gyorko grounded out.
"The series before this one, we let a couple of games slip away," Wainwright said. "That's, unfortunately, the truth. Who knows what could have happened? We're left to reflect and figure out how to get better for next year."
The word from 'Mo'
How much, or whether, the Cardinals get better next season depends on offseason moves made by General Manager John Mozeliak.
Mozeliak held an informal question-and-answer session with reporters in the clubhouse after the game as music by Guns N' Roses, Black Sabbath and Led Zeppelin blared from speakers.
St. Louis Cardinals general manager John Mozeliak talks about the team after its victory Sunday. Despite the win, they were still left out of the playoffs.
"Hopefully, you can address the right pieces, whether it's in trade or free agency, to improve upon where we are today," an obviously disappointed Mozeliak said.
But Mozeliak said he wasn't disappointed in the players, and he pointed out the key injuries suffered by Diaz, Matt Holliday and Matt Carpenter.
"I don't think anybody has to hang their heads in here for what they did," Mozeliak said. "We lost a lot of key players during critical times during the season, but still ended up making the last game count. Unfortunately, we could only control so much. When you do that, you're leaving (yourselves) a little bit at risk. We didn't get it done.
"It's a disappointing feeling. I'm not sad. I was just excited to keep going. This team, I feel like, was capable of doing more. We did finish strong, but we didn't finish strong enough."
Carpenter hopeful
Carpenter, who hit a three-run homer in the sixth inning Sunday, feels optimistic that the Cardinals can overcome the 17 1/2-game advantage the Chicago Cubs had over them in running away to the NL Central championship.
"We've got a good group of guys in here," he said. "I'm sure we're going to add some pieces next year that hopefully fill some holes that we have. But ultimately, I really like the group of guys we have in here. I think we've got a chance to win. I think we had a chance to win this year. It just didn't work out."
Matt Carpenter talks about the Cardinals seeing the end of their season coming quicker than anticipated on Sunday.
Baserunning, defense and pitching were the Cardinals' main weaknesses. They hit 225 home runs, but a lack of speed made them overly reliant on power. They also struggled to their first losing season at home since 1999, going 38-43.
"There are some areas the guys in this room, myself included, could do a better job with," Carpenter said. "That's what the offseason's for and that's what next season's for."
It marks the first time that Carpenter has missed the playoffs in his six-year career.
"I don't know what the first week of October is going to feel like at home. I don't know what that's going to look like," Carpenter said. "It is a weird feeling. It's not a good feeling. It's motivating to find a way to get back next season."
David Wilhelm: 618-239-2665, @DavidMWilhelm
The St. Louis Cardinals played a mediocre first half
St. Louis Cardinals fans applaud Angels' Albert Pujols at Busch Stadium
Ernie Broglio, famous for the trade that brought Lou Brock to St. Louis, dies at 83
Pitcher Ernie Broglio, noted for the lop-sided trade that sent him to the Chicago Cubs to bring Hall of Fame outfielder Lou Brock to the St. Louis Cardinals, is dead at age 83.
MORE ST. LOUIS CARDINALS
78 years ago, this Belleville left-hander put a stop to DiMaggio's hitting streak
Carpenter is seventh Cardinals player to go on Injured List
Cheap Seats
The Chicago Cubs were never lovable losers, but their fans are absolutely insufferable
After a dismal first half, here's what the St. Louis Cardinals must do to make the playoffs
Here's why the St. Louis Cardinals only having one All-Star could be a good thing
Another mediocre performance helps St. Louis Cardinals wrap up first half in fitting way

redpajama_set_name: RedPajamaCommonCrawl


I received product to review through partnership with Alurent. All the opinions included in my review are my own.
With just under a year before I hit the big 4-0, I consider myself pretty lucky when it comes to my skin. It's all thanks to my grandmother, who passed on her fabulous skin to all the women in the family. Still, I have noticed these lines in my forehead that weren't there 20 years ago! I'm not thrilled with this at all! The problem is, I just don't have the dedication to a complicated anti-aging skin care routine. I want something that works when I want it to work.
I honestly didn't think such a product existed until I tried out Alurent Anti-Aging + Instant Erasure Serum, a patented, new skincare product that tightens skin to visibly lift as it smoothest creases and wrinkles. It was the "instant erasure" part that intrigued me. Before now, I just "erased" my wrinkles in post-processing! Great for photos, but not so much for the real world.
After taking that picture (in my bathroom, under horrible lighting, no less!), I swept a bit of the Alurent Anti-Aging + Instant Erasure Serum across my forehead and waited. You can actually feel it working. I noticed a bit of a tightening feeling while I waited for my 90 seconds to be up. Then I took my after picture, again in the same horrible lighting and without makeup.
Can you see the difference? Those are totally natural, no-makeup shots, as evidenced by the dark circles under my eyes that I had yet to cover! Once you let the Alurent Anti-Aging + Instant Erasure Serum do its job, you're ready to put on your makeup. Yes, you can wear it under your favorite makeup without any issues. Anyone else not know where to look when taking selfies?
I find the Alurent Anti-Aging + Instant Erasure Serum incredibly convenient and easy to use. I love that I don't have to wait weeks to see results. I also love that, even though I have somewhat sensitive skin, it doesn't feel irritating at all.
Here's the great thing: The combination of carefully chosen ingredients in Alurent Anti-Aging + Instant Erasure Serum not only have an instant effect, but, when applied daily, will help the skin regain a radiant and younger appearance over time!
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- A Deity? ETs? Both? Neither?
Extra-terrestrials, evolution, alternative evolution theory, religion, philosophy, Assisted Design, bio-engineering, biotechnology, UFOs, mind, genetics, cosmology, Intelligent Design.
The rate of progress in biotechnology.
The rapid growth of knowledge in general.
It is clear that there are many other intelligent races in our Galaxy, mostly more advanced than us.
Our minds have much more power than we presently know how to use.
These lead to the conclusion that we will quite soon (a hundred years or so) be able to bio-engineer beings like ourselves, starting with lower forms of life. There seem to be beings out there that already have that capability, hence we ourselves have likely been bio-engineered.
The book calls conventional evolution theory into question, and instead offers 'Assisted Evolution'. This provides an interesting new slant on "Intelligent Design", with a much more credible (and verifiable) approach.
The idea of Assisted Evolution is not to set aside Darwin's Theory. But, in our case at least, it probably had some help. Help not from a divine source, but from a race more advanced than us, with an agenda that led to a design for us that is a lot less than optimal.
"I cannot begin to tell you how much I appreciate your clarification of this discussion."
"It is a great book! I see it as timely, to the point, and needing little or nothing."
"Many, many readers will benefit from reading this material. Thank you for sharing these ideas."
"I thought the book was great and was very well written - I enjoyed reading it a lot."


text:
Zuckerverse. Timesuck. Faceplant.
They're just a few of the suggestions being bandied around online following reports that Facebook plans to rebrand itself with a new group name. The company refused to comment on rumor or speculation, of course, but the Twitterati had no problem.
The debate careered from sensible to screwball to strange.
"Meta" was one of the more sober trending suggestions, referring to Facebook's reported desire to assume a name that focuses on the metaverse, a virtual environment where users can hang out.
Bookface, Facegram, Facetagram, FreeFace, FreeTalk, World Changer.
On the wilder side, Twitter user Dave Pell drew a comparison with musician Kanye West who recently changed his name to "Ye".
"It would be awesome if Facebook changes its name to Ye," he said.
Several humorous suggestions reflected online speculation that the alleged rebrand was driven by founder Mark Zuckerberg's yearning to make Facebook "cool" once more.
The platform has been deserted by many younger users who have moved to apps like Instagram, Snapchat and TikTok, and has become increasingly populated by older people.
"Teenage Wasteland", one wit suggested.
"The Old People's App because that's what us younger people call it," college student Vittoria Esteves said.
"Boomerville", suggested Marco, referring to so-called baby boomers born in the years following World War II.
'STREISAND EFFECT'
The online naming feast was sparked by a report on the Verge tech site that a newly named group would act as a parent for all the company's brands, including Facebook itself, Instagram and WhatsApp, and reflect a focus on virtual and augmented reality.
An announcement is expected next week, according to the report.
Many suggestions however reflected the public's concern about how the company handles user safety and hate speech. Internal documents leaked by a whistleblower formed the basis for a U.S. Senate hearing last week.
"Fakebook", for example. Tracebook.
Other people were sceptical whether a name change would be enough to detract from the growing legal and regulatory scrutiny that has tarnished the company's reputation.
"It's going to be the Barbra Streisand effect thing going on," said 20-year old Glasgow student Thomas van der Hoven, referring to the phenomenon where seeking to suppress something inadvertently turbo-charges popular interest in it.
"So they're going to try and change it, and then that's just going to put the spotlight on the fact that they're changing it. Why are they changing this?" he added. "So it's probably going to spit back in their face at some point."
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Religious education at St Martin and St Mary CE Primary School develops the children's knowledge and understanding of the major world faiths and encourages pupils to enquire and evaluate what religions have to say about fundamental questions in life – how can we be happy? why are we born? why do we die? why is there suffering? what is the nature of reality? and does it all really matter?
We enable children to develop a sound knowledge not only of Christianity but also of other world religions. Children reflect on what it means to have a faith and to develop their own spiritual knowledge and understanding. We help the children learn from religions as well as about religions.
Pupils are enabled to evaluate their own and others' views in a reasoned and informed manner.
To have respect for other peoples' views and to celebrate the diversity in society.
To promote community cohesion by developing an understanding of shared values and to challenge prejudice, racism and discrimination.
To prompt them to consider their own responsibilities to themselves and others, and to explore how they might contribute their communities and to wider society.
Through what they learn help build resilience to anti-democratic or extremist narratives.
Our school RE curriculum is based on the Cumbria LA's Agreed Syllabus, as required by law, and it meets all the requirements set out in that document. Every locally RE syllabus must reflect the fact that the religious traditions in Great Britain are in the main Christian and that it should, at the same time, take account of the teachings and practices of principal religions represented in Great Britain.
Religious education is statutory for all children of compulsory school age. Parents have the right to request that their child be excused from all or part of the RE provided.
Our teaching and learning styles in RE enable children to build on their own experiences and extend their knowledge and understanding of religious traditions. We use their experiences at religious festivals such as Easter, Diwali, etc. to develop their religious thinking. We organise visits to local places of worship and invite representatives of local religious groups to come into school and talk to the children.
Children carry out research into religious topics. They study particular religious faiths and also compare the religious views of different faith groups on topics such as rites of passage or festivals. Children discuss religious and moral issues using computers and working individually or in groups.
We plan our religious education curriculum in accordance with the Cumbria LA's Agreed Syllabus focusing on Christianity & Islam at KS1 and Christianity, Islam & Buddhism at KS2. We ensure that the topics studied in religious education build upon prior learning. We offer opportunities for children of all abilities to develop their skills and knowledge in each unit, and we ensure that the planned progression built into the scheme of work offers the children an increasing challenge as they move through the school. At St Martin and St Mary CE Primary School Religious Education is part of the whole school curriculum and may be taught as a specific aspect within a cross-curricular theme or as a separate lesson following a specific R.E. theme.
We teach religious education to all children in the school, including those in the Early Years Foundation Stage.
In the EYFS, religious education is an integral part of the topic work covered during the year. We relate the RE aspects of the children's work to the relevant areas of the Early Years Foundation Stage Profile which underpin the curriculum planning for children aged three to five.


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Kid's & Video Games. Pioneer 2018 DVD Bluetooth Stereo Taupe Dash Kit Harness for 06-11 Honda Civic. Pioneer Touchscreen DVD MP3 Bluetooth Stereo Receiver iPod iPhone Control. 6.2 WVGA Display Clear Resistive Touchscreen. Features the responsive, powerful and intuitive NEX user interface.
Built-in Bluetooth technology for hands-free talking and audio streaming. Works with most Bluetooth enabled cell phones (up to 32.8 ft in range). Includes an external wired microphone for clear and distortion-free talking. Back-up camera ready input enables you to add a reverse backup camera. Compatible with Apple iPhone 6/6+ and iOS 8+ software.
Metra Single/ Double DIN Install Dash Kit/ ISO Radio. Comes with removable oversized storage pocket. Quick release snap-in ISO mount system with custom trim ring. Allows retention of factory climate controls, air vents, hazard button & passenger airbag light.
Accommodate a full recessed DIN unit with a pocket. Designed and contoured to match factory dashboard. Painted to match factory dash color.
Wire Harness & Antenna Adapter. Stereo Wiring Harness Antenna Combo. Plugs into Harness at radio.
No cutting of factory wiring needed. Vehicle Compatibility Chart may vary depending on vehicle options, production dates, and install application. This Kit Does not fit Factory Navigation or Premium Sound Vehicles. Please be advised that most of dash kits or harnesses require an experienced or certified installer. Installations may vary depending on conditions or year made of your vehicles.
Local pick-up is available by appointment only, please inquire for more information. We are not responsible for any excess charges. Return for replacement within: 14 days. Powered by Solid Commerce The All-in-One Listing, Inventory & Order Management Solution. The item "Pioneer 2018 DVD Bluetooth Stereo Taupe Dash Kit Harness for 06-11 Honda Civic" is in sale since Friday, December 8, 2017.


text:
package com.programmingspring.koans.service.explicit.jsr330;

import com.programmingspring.koans.repository.MyRepository;
import com.programmingspring.koans.service.MyService;

public class ServiceWithConstructorDependency implements MyService {

    private final MyRepository repository;

    public ServiceWithConstructorDependency(MyRepository repository) {
        this.repository = repository;
    }

    public MyRepository getRepository() {
        return repository;
    }
}

redpajama_set_name: RedPajamaGithub


There are uncanny parallels between the Libor scandal and the way media is traded today. John Billett calls on the industry to solve the problem.
The Libor scandal (London Interbank Offered Rate) already seems a long-solved, distant mystery to most folk and certainly irrelevant to the advertising media world.
Banks have been fined, executives fired and inquiries held. But before we cast it off into memory, it's worth a look at the similarities between the broken Libor system and the current media trading landscape.
A UK advertiser may have been significantly overcharged for media despite audits indicating otherwise. This is because of the way that data is provided to auditors excluding some if not all of the discounts holding companies enjoy from deals with media owners.
If the details of the Libor scandal now seem distant, here's a quick primer to allow you to see the parallels with media trading.
Libor is an average interest rate calculated through submissions of interest rates by major banks in London. The scandal arose when it was discovered that banks were falsely inflating their submissions to produce an artificially high average rate. This allowed traders to profit from trades at actual rates well below the average Libor quote.
Banks were supposed to submit the actual interest rates they were paying in order to provide a total assessment of the health of the financial system. Instead, the provision of unaudited claimed rates, created a false market.
It was not just the unwary financiers who were disadvantaged. Since mortgages, student loans, financial derivatives and other financial products often rely on Libor as a reference rate, the manipulation of submissions used to calculate those rates had significant negative effects on consumers and financial markets worldwide.
Let's now bring that scenario into the media trading landscape. The prices charged to advertisers by media agencies for media owner contracts may well be artificially inflated. Few advertisers to my knowledge have contracts with both the appointed media agency and that agency's media holding company.
Media discounts, media deals and media trading are now handled at agency and holding company level. The holding company deals (and the financial value they represent) with media owners can be allocated however that company wishes.
The result is that the prices advertisers actually pay and which get audited will certainly exclude a significant proportion of the deals negotiated. This means that clients could be overpaying for their media because of an inflated margin.
Sounds familiar doesn't it. Essentially, the submission of artificially inflated prices has now become endemic in media trading. Transparency has disappeared. If some of the negotiated deals are withheld from view, then advertisers are in the same place as mortgaged house buyers – paying an artificially inflated price for their goods.
The Governor of the Bank of England commented in 2008 "Libor is not a rate at which anyone is actually borrowing". Let's face it, the media audit is not a rate anyone is actually paying.
The New York Federal Reserve in 2012 released documents going back to 2007 which showed they were aware that banks were lying about their borrowing costs when setting Libor and chose to take no action against them at that time. The media industry knows the truth but also chooses to take no action.
A Barclay's employee told the Fed "We know that we're not posting an honest Libor, and yet we are doing it, because if we didn't do it, it draws unwanted attention on ourselves. I have heard that on more than one occasion from several media traders.
My hope is that those involved will quickly see the irreparable damage this false trading market is doing to the integrity of media trading as well as the damage being caused to the ability of brands to create cost-effective advertising.
As the Libor scandal encouraged bank customers to interrogate the way banks are run, so too could this potential media pricing scandal encourage brands to increasingly interrogate the way their agencies are being run.
The media owner deals that I have seen in the UK suggest that commission of around 25%, that's 10% more than standard agency commission, is quite common. That additional commission is currently rebated to advertisers or withheld by the holding company on the basis of what will most benefit the media agency brands by the way of performance bonuses.
It's clearly happening beyond the UK as well but wherever this occurs the clear losers are the medium-sized advertisers and those bigger spenders who don't pay attention to what's occurring.
Advertisers need to protect themselves and this can only happen where they have a contract not just with the media agency brand but also with the holding company.
Specifically that contract must allow them to have access to the detail of media owner deals so that they can independently calculate both the price they should be paying for spots and space as well as access to the rebate.


These are the terms and conditions for classes booked through a Jacappella Associate Teacher or Franchisee. These classes will take place in village halls, community centres or day nurseries where the teacher will visit to deliver a class on a weekly basis. All our teachers are CRB checked and hold current public liability insurance cover.
To attend a class children must be booked onto the current course. When booking classes you will be charged for the half term's classes or however many lessons remain in that half term. The first lesson is free.
If you do not attend week 2 and beyond a full refund of lesson fees paid will be given under our money back guarantee. If you cease lessons after week two but during the first half term a refund of fees for any lessons not taken will be given. Once you attend the first half term and beyond, the normal rules of notice to discontinue will apply (see below).
A Book and CD which accompanies the course must be purchased for each child, each year. The charge for this is £20.00 and this is due as your child begins classes. The next Book and CD in the course will be available for purchase each September.
As the course materials contain copyright material they are non refundable.
In addition, medals, certificates and reports will be awarded twice each year at the end of the Autumn and the Summer Terms.
Fees for classes differ according to teacher and area. Please check with your Franchisee or Associate Teacher regarding the fee in your area or consult their page. Fees are due half-termly in advance. Invoices must be paid on or before the first lesson of each half-term. Fees are payable until Notice to Discontinue is given (see below).
Classes are thirty minutes in duration and are given weekly.
Classes missed through a child's non-attendance cannot be refunded. If a class is cancelled by the Teacher, the fee for that class will be credited against the next half-termly invoice, or the class will be held at another time. If any credits are outstanding when Notice to Discontinue is received by the franchisee, then such credits will be offset against the final invoice or refunded in cash.
Notice to discontinue lessons must be given in writing to the Franchisee or Associate Teacher. If such notice is not received, it will be deemed not to have been served and lessons will continue and fees remain payable until such notice is given.
Four weeks advance notice to discontinue is required to be given or four weeks fees will be payable in lieu of notice.
During all Classes the Parent and/or Carer agrees and accepts sole responsibility for the conduct, welfare, safety and care of their child or children during the class and whilst on the premises where the Jacappella Music Class is held.
Children must not attend classes if they are suffering from a contagious illness and all medical conditions must be disclosed to the Jacappella Franchisee or Teacher before a child begins classes or as soon as the condition is known.
Parents/carers are solely responsible for the safety and well-being of their child or children during attendance at Jacappella Music Classes and while on the premises where the classes take place.
Neither Jacappella nor any Franchisee, Teacher nor any employee, agent or other representative of Jacappella accepts responsibility in respect of loss, damage or expense incurred by a child, participant, parent or carer arising directly or indirectly or in any way connected with the attendance of the child, participant, parent or carer at any of the classes or any other act or omission on the part of Jacappella, or it's Franchisees, it's Teachers or agents or representatives.
Parents/carers must not be involved either directly or indirectly in any business which operates in the same business market as Jacappella or which is in competition with Jacappella nor must they take any material or replicate any of the Jacappella business system or material for their own business use or via a third party.
We are committed to providing the best possible service to all our customers. Queries should be directed in the first instance to your franchisee.
If you feel you would prefer to talk to someone at Head Office please email info@jacappella.co.uk or telephone 01606 351574.
These are the terms and conditions for classes booked through a day nursery or school operating as a Jacappella Music Centre.
To join the class at your Jacappella Music Centre, parents should obtain the buzzword from their Nursery Manager or Jacappella Music Leader. Parents can then log in by clicking Enrol online under Music Centres. Parents must enrol their child and the fee for course materials must be paid in order for their child to join the class.
A Book and CD which accompanies the course must be purchased for each child, each year. This fee is due as your child begins classes. The next Book and CD in the course will be available for purchase each September.
As the course materials contain copyright material they are non refundable once issued.
Classes are usually given weekly. The regularity and the duration of the classes is at the discretion of the individual nursery in order to allow nurseries to incorporate lessons into nursery routine.
If a class is cancelled by the Jacappella Music Centre it will be held at another time. As there are no class fees to pay, no refunds are due for classes which need to be cancelled or re-scheduled.
We are committed to providing the best possible service to all our customers. Queries should be directed in the first instance to your music leaders or Nursery Manager.
If you feel you would prefer to talk to someone at Jacappella Head Office please email info@jacappella.co.uk or telephone 01606 351574.
Refunds can only be offered where goods are faulty. Goods must be returned to Jacappella Head Office within 30 days of purchase in good condition and in their original packaging together with a covering letter explaining the fault. On receipt of the above, Jacappella will offer a refund or replacement at their discretion. No refunds can be offered on items such as CDs or Jacappella Books which are subject to copyright.
Parents/carers are solely responsible for the safety and well-being of their child or children while playing with instruments or props or merchandise purchased from or supplied by Jacappella.
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We are committed to providing the best possible service to all our customers. All queries regarding the Jacappella Online Shop or Jacappella merchandise should be directed to Jacappella Head Office. Please email info@jacappella.co.uk or telephone 01606 351574.


text:
Sulfid uhelnatý (starší terminologií sirník uhelnatý) je chemická sloučenina se vzorcem CS, patřící mezi sulfidy. Je sirným analogem oxidu uhelnatého. Jako pevná látka nebo kapalina je nestabilní, ovšem bývá nalézán v mezihvězdné hmotě a lze jej připravit v laboratoři. V podstatě není nestabilní, ale má tendence k polymerizaci. Vazba mezi atomy uhlíku a síry je velmi silná.

Reference

Externí odkazy

Uhelnatý
Uhelnaté sloučeniny

redpajama_set_name: RedPajamaWikipedia


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text:
Françoise Seligmann, née Claudine Renée Josette Jullien, le  à Marseille et morte le  à Neuilly-sur-Seine, est une résistante, journaliste et femme politique française.

Biographie
Née à Marseille le 9 juin 1919, Claudine Jullien fait ses études au Lycée Montgrand à Marseille : Baccalauréat de philosophie, puis deux années de classes préparatoires littéraires au lycée Thiers de Marseille puis à Bordeaux, où elle assiste à la défaite face à l'Allemagne nazie. Elle retourne alors à Marseille pour rejoindre sa mère. Elle a 21 ans au début de l'Occupation. En 1940, le « statut des juifs » qui exclut sa mère, Laure Beddouckh, enseignante et journaliste, de l'enseignement comme de la presse, la conduit à interrompre ses études pour gagner sa vie. Son père, qui vit à Casablanca où il s'est remarié, lui propose de le rejoindre et de ne pas rester auprès de sa « juive de mère » (selon ses termes). Elle refuse.

Elle entreprend une carrière d'assistante sociale, spécialisée dans l'enfance délinquante, d'abord auprès de Germaine Poinsot-Chapuis, au tribunal d'enfants de Marseille, ensuite auprès de la Mère Supérieure du Bon Pasteur de Pau et de l'abbé Plaquevent, enfin au tribunal d'enfants de Lyon où elle est chargée d'enquêter sur les cas soumis au tribunal et de présenter des rapports. Parallèlement, elle fait un stage d'infirmière à l'hôpital de Grange-Blanche.

Résistante sous l'Occupation
Dans le courant de l'année 1941, elle entre en contact avec la Résistance. Très vite, elle reçoit pour mission de convoyer des familles juives jusqu'à la frontière suisse. En novembre 1941, elle crée avec le pasteur suisse Roland de Pury une chaîne d'évasion vers la Suisse, dont elle organise les conditions de séjour et de passage dans le village d'Archamps.

Le 23 janvier 1942, elle apprend l'arrestation de sa mère à son domicile de Marseille et part à sa recherche à travers commissariats et prisons. Libérée par un commissaire de police français, sa mère regagne son domicile et y retrouve sa fille ; elles se rendent alors à Lyon où sa mère trouvera refuge chez des amis.

Durant l'année 1942, Françoise rencontre à Lyon, au temple de la rue Lanterne dont Roland de Pury, résistant, est le pasteur, Henri Frenay et Berty Albrecht, membres du réseau Combat. Ils lui confient le soin de distribuer leur journal clandestin. Elle convoie personnellement de Lyon à Archamps une centaine de juifs et de réfugiés politiques (intellectuels, syndicalistes, parlementaires) fuyant l'Allemagne et l'Europe Centrale, et leur fait traverser la frontière.

Elle cesse l'activité de convoi des familles juives sur ordre de ses chefs du mouvement Combat avant l'arrestation de Roland de Pury et son incarcération à la prison Montluc en 1943. Sur l'ordre de Claude Bourdet, elle quitte son poste au tribunal et entre dans la clandestinité. Le 11 novembre 1942, la zone libre est occupée.

En mai 1943, elle organise un réseau d'accueil pour les évadés vendéens auprès des pasteurs de Fontenay-le-Comte, Moncoutant, Mouilleron. Elle y conduit notamment Christine, la secrétaire de François Morin-Forestier après son évasion des services de la Gestapo de l'Hôtel Dieu de Lyon.

Au cours de ces années de résistance, Françoise Seligmann rencontre Albert Camus, Claude Bourdet ou Pascal Pia, avec lesquels elle participe à l'aventure du journal Combat.

Au sein du mouvement « Combat », elle s'occupe alors du service social, comme d'ailleurs de nombreuses résistantes, ce qui signifie qu'elle vient en aide aux résistants et à leurs familles, par exemple pour fournir de faux papiers et pour trouver des lieux d'hébergement et de repli pour les fugitifs. Elle travaille également pour le NAP (Noyautage des administrations publiques), organisation du mouvement « Combat » créée pour infiltrer les administrations de Vichy.

Elle travaille aussi, à partir de juin 1943, pour les Mouvements Unis de la Résistance (MUR), qui résultent de la réorganisation des grands réseaux souhaitée par Jean Moulin, après les hécatombes de juin 43 et l'unification des mouvements de la zone sud. Elle est recrutée par Marcel Peck, chef adjoint du N.A.P. (Noyautage des Administrations Publiques, dirigé par Claude Bourdet) et travaille jusqu'à la Libération conjointement pour le service social et pour le N.A.P., pour lequel elle effectue des missions de reconnaissances.

En décembre 1943, elle est envoyée en mission en Suisse pour le compte des M.U.R. Elle y séjourne un mois pour une tournée de conférences organisée par la délégation française de la Résistance à Genève afin de faire connaître l'action de la Résistance et de recueillir des fonds qui manquent alors cruellement.

Elle participe même à des évasions, armes à la main : elle fait en particulier partie, en janvier 1944, des résistants qui libèrent Yvette Bernard de la prison de la Gestapo de Blois à la faveur d'un transfert à l'hôpital, et convoie l'évadée jusqu'à un refuge, qui finira malheureusement par être découvert par la Gestapo.

En février 1944, elle est chargée par Claude Bourdet de retrouver la trace de Marcel Peck, disparu depuis son arrestation en novembre 1943. Elle recherche des contacts dans divers services de la Gestapo, parvient à lier connaissance avec une interprète alsacienne, Jeanne Kelbel, à laquelle elle soutire des renseignements sur les opérations prévues par le chef de la Gestapo de l'avenue Foch. Certains de ces renseignements seront utilisés. D'autres arriveront malheureusement trop tard pour éviter des arrestations.

En août 1944, pendant la semaine de la bataille de la Libération de Paris, elle sert d'agent de liaison et d'agent ravitailleur à Albert Camus et à l'équipe du journal Combat, retranchés à l'intérieur de l'immeuble de la rue Réaumur duquel ils publient les premiers numéros du Combat clandestin distribués librement.

Elle rencontre son mari, François-Gérard Seligmann, marchand d'art et résistant, pendant l'Occupation.

En septembre 1944, elle est nommée Directrice nationale du Service social du Mouvement de libération nationale (MLN), et le restera jusqu'à la suppression des services du MLN.

Bien des années plus tard, elle écrira l'histoire de son engagement dans la Résistance sous le titre Liberté, quand tu nous tiens. « Je ne fais pas de passéisme, dira-t-elle,  je soutiens que pour construire l'histoire de demain, il ne faut pas oublier celle d'hier ». Elle décrit dans ses mémoires la joie de la libération de Paris, son émotion en apercevant la haute silhouette du général de Gaulle qui « avait été l'âme de la résistance contre les Nazis ». Mais « l'Homme de Londres » se montre distant voire méprisant envers les jeunes résistants qui se pressent autour de lui, ce 25 août 1944, afin de lui dire leur reconnaissance, leur attachement, dans l'espoir d'un regard ou d'un mot chaleureux.

Puis, c'est le retour des prisonniers de guerre et des déportés, que ses camarades et elle vont accueillir, à Paris, au cinéma Rex et à l'hôtel Lutetia. De là date sa première rencontre, au ministère des Prisonniers, avec François Mitterrand qui, en l'absence d'Henri Frenay devenu ministre, fait fonction de secrétaire d'État. Françoise Seligmann insiste sur « la fragilité des hommes et des femmes qui ont vécu l'enfer de la déportation », mais aussi sur l'attitude de François Mitterrand, qui « n'a manifestement aucune considération pour notre délégation, bien que nous ayons précisé que nous représentions l'ensemble des mouvements de Résistance ». Les membres de la délégation se retirent confondus devant l'inconscience et la morgue du jeune Mitterrand dont ils ne pouvaient guère soupçonner, à l'époque, quel avenir brillant l'attendait.

Militante des droits de l'Homme
En 1946 survient l'affaire Finaly, du nom d'enfants juifs dont les parents furent déportés et qui, confiés à une institution catholique, furent baptisés en dépit du judaïsme affirmé de leurs parents. Leur institutrice refuse ensuite de les remettre à leur famille légitime et se fait nommer « tutrice provisoire des enfants Finaly », allant même, avec la complicité de religieux, jusqu'à les dissimuler sous de fausses identités. La cause des enfants Finaly pousse Françoise à adhérer à la Ligue française pour la défense des droits de l'homme et du citoyen en 1949 où elle est élue Présidente de la  section de Paris.

Elle crée et anime, en 1950, le Comité de défense de Ethel et Julius Rosenberg, couple de savants atomistes américains convaincus d'espionnage au profit de l'URSS et condamnés pour cela à la peine capitale.

Elle est élue en 1953 au Comité central de la Ligue des Droits de l'Homme, auquel elle siégera jusqu'en 2013.

Elle est aussi, en 1953, secrétaire du Comité de défense de Georges Guingouin - chef des maquis F.T.P. du Limousin, arrêté et inculpé pour assassinat - qui sera finalement innocenté, le tribunal ayant prononcé un « non-lieu ».

En 1954, elle est chargée par l'abbé Pierre de la création et de la direction du centre d'hébergement de la mairie du  arrondissement, qui recueillera, pendant les grands froids de l'hiver, 60 « sans-abris » qui seront relogés et reclassés professionnellement avant la fermeture du centre.

Opposée catégoriquement au colonialisme, elle mène campagne contre la torture en Algérie et pour la défense de Djamila Boupacha et de Djamila Bouhired. Elle est membre du comité de défense constitué en vue d'organiser la défense et la libération de la journaliste Claude Gérard (qui a publié un article sur un maquis algérien, visité en 1956).

Et, jusqu'à la signature de la paix, elle participera à toutes les campagnes contre la guerre d'Algérie, avec la Ligue des Droits de l'homme. Ce combat, elle le partage avec d'autres anciennes résistantes comme Germaine Tillion et Marie-José Chombart de Lauwe.

En 1957, elle crée, pour la Ligue des droits de l'Homme, le journal Après-demain avec Philippe Bernard et Pierre Joxe. Elle en sera la directrice jusqu'en 2013. Après-Demain est un journal mensuel de documentation politique, non vendu dans les kiosques (son siège est situé rue Jean-Dolent, Paris ).

En 1994, elle devient Présidente d'honneur de la Ligue des Droits de l'Homme, dont elle était une vice-présidente depuis 1970.

Cet engagement pour les droits de l'Homme a été le fil conducteur de toute la vie de Françoise Seligmann. Elle est à l'origine de la création en 2004 du prix Seligmann contre le racisme, en mémoire des combats qu'elle a menés contre le nazisme avec son mari, François-Gérard Seligmann. Le prix 2005 a été attribué à Fatima Besnaci-Lancou pour son livre Fille de harki. Le prix 2006 a été décerné à Esther Benbassa et Jean-Christophe Attias pour l'ouvrage collectif Juifs et musulmans : Une histoire partagée, un dialogue à construire. Le prix 2008 a été remis le 8 janvier 2009 à Scholastique Mukasonga pour son ouvrage La femme aux pieds nus.

Elle a également créé la Fondation Seligmann, déclarée d'utilité publique en 2006, dont l'objet est : « œuvrer pour la victoire de la raison et de la tolérance, et promouvoir le rapprochement entre les citoyens et résidents étrangers de toutes origines rassemblés sur le sol français », essentiellement en soutenant des projets de jeunes d'écoles, de collèges et de lycées.

Elle est présidente d'honneur de la ligue française pour la défense des droits de l'homme et du citoyen à partir de 1994 et cofondatrice de la revue de la Ligue, créée en 1957, Après-demain.

Femme politique

Secrétaire nationale de l'UFD (Mendès France)
À partir de 1955, elle commence à collaborer avec Pierre Mendès France (constitution et étude de dossiers, organisation de réunions, campagnes électorales, etc.). Après l'arrivée au pouvoir du Général de Gaulle, elle est chargée par Pierre Mendès France, dont elle est très proche, du secrétariat national de l'Union des Forces Démocratiques, jusqu'à la disparition de cette organisation en 1961.

Membre de la direction du Parti socialiste de 1981 à 1992
En 1974, elle rejoint le Parti socialiste (PS). Elle devient la collaboratrice de François Mitterrand, à l'occasion de la campagne présidentielle qui fait suite au décès de Georges Pompidou le 2 avril 1974. Elle exercera d'importantes responsabilités au Parti socialiste. Elle sera membre du Comité directeur (à partir de 1975), membre du Bureau exécutif de 1981 à 1992 et secrétaire nationale du PS de 1983 à 1992, notamment à l'information des militants et aux organismes centraux, à l'information interne. Pendant les années au cours desquelles la gauche est écartée du pouvoir, elle contribue à théoriser le rôle de l'opposition et manifeste dans ce domaine, selon Christiane Demontès, une exigence et un refus de toute complaisance.

Le 10 décembre 2005, elle devient présidente d'honneur de Rénover maintenant, courant du Parti socialiste fondé par Arnaud Montebourg au lendemain du congrès du Mans, après avoir été brièvement présidente de l'association Nouveau Parti socialiste.

Sénatrice de 1992 à 1995
En remerciement de ses services au sein du Parti socialiste, Pierre Mauroy propose à Françoise Seligmann la place de numéro deux sur la liste sénatoriale de Robert Pontillon avec l'engagement que celui-ci cédera son siège à mi-mandat mais sans avertir ce dernier. Elle entre finalement au Sénat après le décès de Robert Pontillon en 1992. La nouvelle sénatrice des Hauts-de-Seine siège d'abord à la commission des affaires culturelles, puis à la commission des lois. Au cours de ce bref mandat, de mars 1992 à septembre 1995, deux thèmes émergent plus particulièrement parmi ceux qu'a défendus Françoise Seligmann au Sénat.

Défense de l'apport de l'immigration
D'abord, le thème de l'ouverture à l'étranger et de l'immigration. Elle intervient ainsi en juin 1993, pendant la discussion de la future loi du 23 juillet 1993 réformant le code de la nationalité. Elle souligne l'apport à la France de « tous les enfants des Juifs d'Europe centrale échappés de leurs ghettos, comme ceux des manœuvres italiens, espagnols ou polonais, accueillis et formés dans notre école publique et laïque ». Elle dénonce la « sclérose culturelle » qui ne manquerait pas de résulter pour la France d'une fermeture de ses frontières à de nouveaux migrants. « Toucher au code de la nationalité,  dit-elle, c'est toucher à l'histoire de France ». L'immigration est pour elle un élément de l'identité française ; la citoyenneté doit intégrer l'immigration.

Un autre aspect de ses convictions s'exprime tout naturellement dans le cadre de son mandat : son féminisme.

Défense du droit des femmes
En 1946, Françoise Seligmann avait lancé La Française, un journal féministe auquel contribuait, entre autres, Albert Camus, mais qui n'aura pas le même succès ni la même longévité que Elle, créé la même année. Elle avait suivi le conseil d'André Malraux qui, à plusieurs reprises, lui avait dit : « Vous devriez faire du journalisme ». Le même Malraux, promu ministre de l'Information et auquel elle avait présenté son projet, lui avait lancé, ironique : « Vous voulez faire du journalisme et vous ne savez même pas la différence entre un bulletin d'association et un vrai journal ! »

Au Sénat, ses convictions féministes sont un élément important de son activité de parlementaire si l'on en juge par le dépôt, en décembre 1992, d'une proposition de loi relative à l'interruption volontaire de grossesse et tendant à dépénaliser l'auto-avortement. Dans le même esprit, elle pose une question orale sur la situation des centres d'IVG et s'indigne du manque de moyens auxquels ces derniers seraient confrontés. Elle considère que ces centres ont « démontré, par leur action, combien leur existence est indispensable et, dans bien des cas, salutaire si l'on songe à ce fléau sanitaire, social, humain, que constituaient, dans le passé, les avortements clandestins ».

En mai 1994, Françoise Seligmann est l'auteure d'une autre proposition de loi pour une meilleure répartition des fonctions électives entre les hommes et les femmes. Ce texte ne sera jamais inscrit à l'ordre du jour de l'assemblée.

Un mandat de sénatrice dont la durée est réduite pour laisser la place à Robert Badinter
Lors du renouvellement de 1995, Françoise Seligmann, 76 ans, ne sera pas investie mais devra laisser sa place à Robert Badinter, 67 ans. L'affaire prend une tournure féministe. Seligmann était la seule femme membre de la commission des lois du Sénat (sur 42) et aussi la seule femme parmi les candidats éligibles de ce renouvellement sénatorial. Son élimination ne favorise pas une représentation équilibrée des sexes dans la « Haute Assemblée ». C'est ainsi que Françoise Gaspard et Yvette Roudy protestent à coups de tribunes dans la presse contre le sort réservé à leur amie. Seligmann présente sa propre liste « Promotion des femmes » avec Gaspard et Roudy. « Je ne présente pas cette liste contre Badinter et je souhaite qu'il soit élu », précise-t-elle. Badinter sera élu à sa place.

Direction de théâtre et collections
Elle est également membre du conseil d'administration du théâtre de la Ville et vice-présidente de celui du théâtre musical du Châtelet à Paris. Elle a fait don de 160 œuvres de la Belle Époque au musée Carnavalet, réunies par son époux antiquaire et collectionneur. Elle a offert au musée du Louvre un tapis iranien du , aujourd'hui appelé le tapis Seligmann, présenté de manière intermittente dans les espaces du département des Arts de l'Islam.

Reconnaissance et mort
Au titre de son action de résistante, elle a reçu la médaille de la Résistance et elle est officier de la Légion d'honneur, elle sera aussi commandeur de l'ordre national du Mérite et commandeur de l'ordre des Arts et des Lettres.

Françoise Seligmann meurt le 27 février 2013 à Neuilly-sur-Seine, à l'âge de 93 ans. Celle que le Nouvel Observateur avait surnommée la « vieille dame indignée de la gauche française » meurt le même jour qu'un autre résistant illustre, lui aussi indigné célèbre, Stéphane Hessel.

Œuvres

 2000, Liberté, quand tu nous tiens, (1940-1954) tome I, Paris, Fayard, préface de Pierre Joxe (lire la chronique de Régine Deforges, « Une inconditionnelle de la liberté », dans L'Humanité du 9 juin 2004).
 2003, Liberté, quand tu nous tiens, tome II, L'Espoir et la honte, (1954-1968) Paris, Fayard, Avant-propos de Pierre Joxe, préface de Bertrand Delanoë.
 2005 Les Socialistes aux portes du pouvoir, 1974-1981, tome I, Paris, Michalon, préface de Pierre Joxe.
 2005, Les Socialistes au pouvoir, 1981-1995, tome II, Paris, Michalon, préface d'Arnaud Montebourg.

Sources

 Régine Deforges, « Militer c'est croire », dans L'Humanité, 16 juin 2004, (page consultée le 24 février 2006).
 Magazine À Paris !, , mars-avril-mai 2006, rubrique « Actualité », portrait « Françoise Seligmann »  (page consultée le 25 février 2006).
  dans Marianne, 3 janvier 2009.

Notes et références

Liens externes

 Sa fiche sur le site du Sénat
 Le site de la Fondation Seligmann

Sénateur membre du Parti socialiste (France)
Sénateur des Hauts-de-Seine
Femme politique française
Personnalité de la Ligue française pour la défense des droits de l'homme et du citoyen
Résistante française
Titulaire de la médaille de la Résistance française
Officier de la Légion d'honneur
Commandeur de l'ordre national du Mérite
Commandeur des Arts et des Lettres
Journaliste française du XXe siècle
Féministe française
Naissance en juin 1919
Naissance à Marseille
Décès en février 2013
Décès à Neuilly-sur-Seine
Décès à 93 ans


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text:
El Torneo Clausura 2017 constituyó el tercer certamen del 114.º Campeonato de Primera División del fútbol uruguayo organizado por la AUF. Fue el vigésimo tercer Torneo Clausura que se disputó, comenzando el 19 de agosto y finalizando el 10 de diciembre.

El certamen fue nombrado Señor Mario Icardo en memoria del exdirectivo de Boston River.

Participantes

Información de equipos
Todos los datos estadísticos corresponden únicamente a los Campeonatos Uruguayos organizados por la Asociación Uruguaya de Fútbol; no se incluyen los torneos de la FUF de 1923, 1924 ni el Torneo del Consejo Provisorio 1926 en las temporadas contadas.

Por su parte, tanto Plaza Colonia como El Tanque Sisley presentan al Estadio Suppici y al Campeones Olímpicos, respectivamente, como su estadio exclusivo, pero son de propiedad municipal. Mientras que Boston River utiliza el Estadio José Nasazzi y Sud América el Parque Palermo para ser locales.

En cursiva los técnicos nuevos que se incorporaron para el torneo o en el transcurso de las fechas.

Equipos por departamento
Lugar de origen de cada club, donde se encuentra su sede. Son 14 equipos de la capital del país, mientras que otros 2 corresponden a Canelones y Colonia.

Ubicación de los estadios en que ofician de local los equipos

Clasificación

Tabla de posiciones

Evolución de la clasificación

Fixture

Goleadores

Véase también
 Campeonato Uruguayo 2017
 Torneo Apertura 2017
 Torneo Intermedio 2017

Referencias

Campeonato Uruguayo 2017
Fútbol en Uruguay en 2017


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Q: mysql distinct value for count I am all over the place here. The MySql query below works for me except for two issues.
1) I want to make sure that only one result per category is displayed (I have 5 categories), I tried using DISTINCT but have clearly misunderstood that one.
2) I want to be able to return the howmany value outside the sql query:
"SELECT DISTINCT category_id, video_id, date_added, COUNT(video_id) AS howmany
FROM votes
WHERE date_added BETWEEN SYSDATE() - INTERVAL 7 DAY AND SYSDATE()
GROUP BY video_id
ORDER BY howmany DESC, video_id
LIMIT 5";

my votes table looks like this:
id | video_id | category_id | date_added

EDIT:
Expected output -
video_id 2 category_id 4 number of votes 500
video_id 5 category_id 1 number of votes 377
video_id 88 category_id 3 number of votes 25
video_id 45 category_id 5 number of votes 23
video_id 9 category_id 2 number of votes 2
The highest voted video in each category over the last 7 days is displayed.

A: Most likely you'd want to GROUP BY category_id instead, or even GROUP BY category_id, video_id if you want to break the results down further.

A: If you want only 1 result per category, you have to group by category. But since there could be multiple video_id's per category, you would end up getting a random one from within the category unless you use GROUP_CONCAT.
If you just want to get a distinct count of a column value, put the DISTINCT keyword inside the count function:
COUNT( DISTINCT video_id )

A: SELECT DISTINCT category_id, video_id, date_added, COUNT(video_id) AS howmany

is functionally equivalent to
GROUP BY category_id, video_id, date_added, COUNT(video_id)

You said "I want to make sure that only one result per category is displayed", so you probably want something like this:
SELECT category_id, video_id, date_added, COUNT(video_id) AS howmany
FROM votes
WHERE date_added BETWEEN SYSDATE() - INTERVAL 7 DAY AND SYSDATE()
GROUP BY category_id
ORDER BY howmany DESC, video_id
LIMIT 5;

A: MySQL doesn't have the analytic functionality you'd use for situations like these - use:
SELECT x.video_id,
       x.category_id,
       x.howmany
  FROM (SELECT t.video_id,
               t.category_id,
               COUNT(*) AS howmany,
               CASE
                 WHEN @category = t.category_id THEN @rownum
                 ELSE @rownum := @rownum + 1
               END AS rank,
               @category := t.category_id
          FROM VOTES t
          JOIN (SELECT @rownum := 0, @category := -1) r
         WHERE t.date_added BETWEEN SYSDATE() - INTERVAL 7 DAY AND SYSDATE()
      GROUP BY t.video_id, t.category_id
     ORDER BY t.category_id, howmany DESC) x
 WHERE x.rank = 1
ORDER BY x.howmany DESC
   LIMIT 5

redpajama_set_name: RedPajamaStackExchange


Việc làm IT Recruitment - NOIS Co., Ltd.
• Stay on top of managing job advertisements on company's website and internal referral program.
• Assess performance of new employees and conduct exit interviews, reviewing and improving the recruitment process.
• Experience in recruitment via social network and Chat such as: Facebook, LinkedIn, Slack, etc.
• Working time from Monday – Friday, from 8.30 a.m. to 5.30 p.m.
• Salary Review twice a year, 13th month - salary, Company trip yearly, Wedding, Sickness, Deceased (Parents, Spouse, Children), New Baby Born, Birthday, etc.
• Sports: soccer, swimming, badminton.
IT Recruiter/ Recruitment Executive Swiss Post Solutions Ltd.


In 1995 she opened a freelance event management business For Occasions and as coordinator, organised some very interesting and rather varied events. After many adventures, significant challenges and a little bit of desperation, in 1999 Julie established Michele's Pantry, a range of gourmet foods, marinated olives and other delicacies all developed for the Australian palate. She expanded her Canberra Honey Range to include Mum's famous Ginger Honey and Chocolate Honey, and initiated her delightful Political Spice Range, a set of curries and spice mixes with a political theme. Her brand names also include Mrs Hall's butters, marmalades and jellies, The Cordial Factory, natural fruit cordials, and the exciting, trialed but not released Pollie Lollie.
In 2003 Julie decided to take her manufacturing business to new heights. She opened a retail outlet; her intention was to manufacture in the back and sell to the front, and, offer home made cakes and coffee. She opened Cafétopia at Hackett shops in the ACT. She struggled. Various, unable to be foreseen, circumstances did not allow the business to develop. By the end of 2004 (barely 2 years), it was obvious that there was no choice but to close the shop. The shop closed in February 2005, and with it went the previous ten years. Things were not looking too good.
Julie's, by now grown up, children rallied around and sent her off to an art class. julie had been a good girl for 40 years and not done "Art'. They maintain a very close watch on her activities. As also did her many friends who consider it their duty to ensure that her alcohol tolerance level remains comparatively high.
By the end of 2005 Julie had produced the 2006 Our Canberra limited edition calendar and was starting to enter art shows and competitions. In 2008 she held her first solo exhibition. She seems to have been labeled a naif.


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People - Ancient Greece: Charidemus
Ancient Greek mercenary leader of the 4th century BC.
Charidemus in Wikipedia Charidemus (in Greek Χαρίδημος), of Oreus in Euboea, was a Greek mercenary leader of the 4th century BC. About 367 BC he fought under the Athenian general Iphicrates against Amphipolis. Being ordered by Iphicrates to take the Amphipolitan hostages to Athens, he allowed them to return to their own people, and joined Cotys, king of Thrace, against Athens. Soon afterwards he fell into the hands of the Athenians and accepted the offer of Timotheus to re-enter their service. Having been dismissed by Timotheus (362 BC) he joined the revolted satraps Memnon and Mentor in Asia, but soon lost their confidence, and was obliged to seek the protection of the Athenians. Finding, however, that he had nothing to fear from the Persians, he again joined Cotys, on whose murder he was appointed guardian to his youthful son Cersobleptes. In 357 BC, on the arrival of Chares with considerable forces, the Chersonese was restored to Athens. The supporters of Charidemus represented this as due to his efforts, and, in spite of the opposition of Demosthenes, he was honored with a golden crown and the franchise of the city. It was further resolved that his person should be inviolable. In 351 BC he commanded the Athenian forces in the Chersonese against Philip II of Macedon, and in 349 BC he superseded Chares as commander in the Olynthian War. He achieved little success, but made himself detested by his insolence and profligacy, and was in turn replaced by Chares. After Chaeroneia the war party would have entrusted Charidemus with the command against Philip, but the peace party secured the appointment of Phocion. He was one of those whose surrender was demanded by Alexander the Great after the destruction of Thebes, but escaped with banishment. He fled to Darius III, who received him with distinction. But, having expressed his dissatisfaction with the preparations made by the king just before the battle of Issus (333 BC), he was put to death.
https://en.wikipedia.org/wiki/Charidemus


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HOW THE GRINCH STOLE CHRISTMAS (1966) AND A CHARLIE BROWN CHRISTMAS (1965)
December 18, 2018 Alfred Eaker	3 Comments
Chuck Jones' 1966 adaptation of Dr. Seuss' "How the Grinch Stole Christmas" is a rarity: a film that both surpasses the source material and is itself flawless—which is why the 2000 live-action remake was a pre-certified disaster.
 Chuck Jones made his name with "Looney Tunes" and although he had a lot of competition (Tex Avery foremost), Jones, with his modernist sensibilities, was the best of the lot. Wisely, Jones filters Dr. Seuss' seditious surrealism through his own pop aesthetics, bringing to the tale superior narrative pacing (it moves like quicksilver), wry wit, expertly judged tension, a gift for expressiveness, and the narration of Boris Karloff, voice acting of June Foray, and raspy singing of Thurl Ravenscroft.
The story is a variation of Charles Dickens' "Christmas Carol," but that's just a springboard for Seuss, Jones, and company. With his melodious British lisp and résumé in Gothic fairy tales, Karloff is a masterful storyteller, perhaps the best in animation since Bing Crosby narrated "The Legend of Sleepy Hollow" (1949). Voicing the Grinch, Karloff snarls delightfully, and as the narrator he is an impeccable bedtime story host. Balancing those two makes for his last great role, one that ranks with the Monster, Imhotep, Hjalmar Poelzig, and Cabman Gray.
Casting Karloff was an intuitive coup. Jones, like Henry Selick and Tim Burton, was astutely aware of the connection between Christmas and Halloween. Both come from the Church; one uses the "seen" symbolism of horror as a counter to "unseen" divinity of the second. And of course, both involve children. June Foray is a delight in her small role as Cindy Lou, who could be no more than two. Her sense of wonder is authentic—never saccharine—staring right through the Grinch's nastiness with big anime eyes (that predate anime). She actually has us rooting for her, as opposed to child stars who we might have been tempted to wish death on (e.g., the tyke in Son of Frankenstein). Ravenscroft makes an art out of insulting the title character in song—which must have been a first—and his work steered the short into a rightly deserved Grammy win for best soundtrack.
Although secular, its anti-consumerism message is as subtle as the Grinch himself—and is still needed today, before we have yet another Black Friday trampling death at Walmart.
 Charles Schulz fully embraces the religious tradition in tackling the same anti-consumerism message in "A Charlie Brown Christmas" from the preceding year. There's little doubt that Schulz' "Peanuts" series eventually became tiresome and repetitive (remember, "It's Arbor Day, Charlie Brown"?) but, with the perfection of this and "It's the Great Pumpkin, Charlie Brown," perhaps the great comic strip artist deserved to be allowed to coast. Again, it's no surprise that these parallel holidays brought out the best in Schulz. The bald-headed, existential Charlie Brown waxes angstfully over the hypocrisy of false Christmas Capitalism, until blanket-toting Linus takes on the role of a Lukian sage to set Charlie, Lucy, Schroeder, and Snoopy right. Curiously, Linus later mixes up that "unseen" of Christmas with the "seen" of Halloween by waiting for a Great Pumpkin that never arrives, but that's part of the the sublime, idiosyncratic beauty of Schulz' best characterizations. The Peanuts gang are children, yes, but they have adult-like complexities and inconstancies, too.
Smartly, director Bill Melendez chose actual children to voice the Peanuts gang and deliver that Gospel of Luke message. What could have been rendered agonizingly pretentious or overbearing proselytization is instead filled-to-the-brim with simplistic, joyous charm. There's nothing at all contrived or bullying about the message which seeks (it doesn't demand) a Christmas that isn't shorn of a Christ child.
The musical ribbon that ties it all together is supplied by that tragically short-lived jazz miniaturist Vince Guaraldi who, like Haydn before him, finds a wealth of exhilarating fun in sanctity.
AnimationBoris KarloffCharles SchulzChristmasChuck JonesDr. SeussTV
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3 thoughts on "HOW THE GRINCH STOLE CHRISTMAS (1966) AND A CHARLIE BROWN CHRISTMAS (1965)"
Charles Schulz (note spelling) was not Jewish. He of German and Norwegian extraction, and belonged to various Christian churches in his life, later accepting a description of "secular humanist."
Also, describing Cindy Lou's big eyes as pre-anime ignores many early Japanese cartoon characters with typically large, expressive eyes. Astro Boy, for example, had already debuted in the United States in 1963.
Gregory J. Smalley (366weirdmovies) says:
Thank you for the corrections, Steve. I fixed the spelling and removed the "Jewish" reference.
I gotta say, when it comes to weird movies, Ron Howard's remake is a good deal weirder than the animated version. It may not be a great movie, but it's definitely bizarre, and if disassociated from its source material, truly weird.


text:
Q: Custom HTML Button wrapped in Link not working I have made a custom Button component that returns HTML button. Now I am using this Button inside Link from next-routes. The problem is that it does not work this way. Weird thing is that button works correctly if I use HTML button inside Link. However, both button are being rendered in the DOM in exact same way. Following is the code:

// Button.js

import React from "react";
import classNames from "classnames";

const Button = ({
    children,
    newClass = "",
    onClickHandler = () => { },
    isSubmitting = false,
    inlineBtn = true,
    disabled,
    primary,
    secondary,
    basic,
    notCentered = true,
    shaded,
    miniLoader,
    type = "button",
    isTransparent,
    fontClass = "",
    small
}) => {
    return (
        <React.Fragment>
            <button
                className={classNames(
                    `${isTransparent ? 'btn-transparent' : 'btn'} ${fontClass} ${newClass}`,
                    {
                        "btn-block": !inlineBtn,
                        "col-mx-auto": !notCentered,
                        "btn-primary": primary,
                        "btn-secondary": secondary,
                        "btn-basic": basic,
                        shaded: shaded,
                        loading: isSubmitting,
                        "loading-sm": miniLoader,
                        "btn-sm": small
                    }
                )}
                disabled={disabled}
                type={type}
                onClick={onClickHandler}
            >
                {children}
            </button>
        </React.Fragment>
    );
};

export { Button };

The following does not work:
<Link route="/register/location">
  <Button basic small>
    Sign Up
  </Button>
</Link>

The following works fine:
<Link route="/register/location">
  <button className="btn btn-basic btn-sm" type="button" onClick={() => { }}>
    Sign Up
  </button>
</Link>

A: You can update your Button component as the following.
const Button = ({
  as = "button",
  children,
  newClass = "",
  onClickHandler = () => {},
  isSubmitting = false,
  inlineBtn = true,
  disabled,
  primary,
  secondary,
  basic,
  notCentered = true,
  shaded,
  miniLoader,
  type = "button",
  isTransparent,
  fontClass = "",
  small,
  ...rest
}) => {
  const Wrapper = as;
  return (
    <Wrapper
      className={classNames(
        `${isTransparent ? "btn-transparent" : "btn"} ${fontClass} ${newClass}`,
        {
          "btn-block": !inlineBtn,
          "col-mx-auto": !notCentered,
          "btn-primary": primary,
          "btn-secondary": secondary,
          "btn-basic": basic,
          shaded: shaded,
          loading: isSubmitting,
          "loading-sm": miniLoader,
          "btn-sm": small
        }
      )}
      disabled={disabled}
      type={type}
      onClick={onClickHandler}
      {...rest}
    >
      {children}
    </Wrapper>
  );
};

This will allow custom Wrapper to be used for your Button component. And we pass every inherited props into your Wrapper so that your route props will be received in your Link component.
You can then use it like so
<Button basic small as={Link} route="/register/location">
  Sign Up
</Button>

This uses the ES6 spread operator syntax. Basically you render your Button component as a Link component, and any inherited props will be passed to the Link component, hence route props is passed into Link component.
This follow the API Design Approach similar to Material-ui's spead approach. This will allow your component to be more flexible as well.


A loose woman rediscovers a former lover during a dangerous train ride to Shanghai.
An automotive engineer bound for a holiday in Spain meets a sultry jewel thief.
A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.
The Reigning Beauty of the Screen!
Sophia's Aunt: Grand duchess of Russia. Not bad for this family.
Princess Sophia Frederica: I wonder what he looks like.
Princess Johanna Elizabeth: That unimportant detail can be settled when the Russian ambassador gets here.
Garishly Ornate, Complex Vision of Surreal Decadence!
Two gnarled statues of grotesque beasts make love in the garden, a perverse cuckoo clock exposes female bodily organs, a skeletal figure shot through with arrows twists its face in a silent wail towards heaven. This is the decor of "The Scarlet Empress," furnishings which speak more of the film's themes and ideas than the plot could ever be allowed to. The actors remain intentionally wooden; it's as if the world around them was an expression of their suppressed emotions. Shame takes the guise of chairs, but chairs in the shape of gargantuan, deformed old men hiding their stricken faces in hideous fingers. Masochism is occasionally a clock, lust a decorative food display, but all perverse, leering. And death... Everywhere is a ghastly preoccupation with death, icons proudly display decapitation, skeletons stretch themselves over boiling cauldrons, while ghastly statues of tortured corpses lurk in every shadowy corner. Together this creates a world of painful decadence, a disgusting, yet fascinating dreamscape of visual pleasure.
All this takes form and depth, is sculpted by director Sternberg's haunting lighting. It is "his" light, he lords over it, and with it anything is possible. He can make a face beautiful or ugly, innocent or evil. He can accentuate a certain side of a person's nature, or how a specific set piece relates to it, all with the proper illumination.
If his lighting is astounding, equally so is Sternberg's use of the visual motifs in his mise en scene (bells, veils, figures, specific set pieces, etc...) to transport the viewer back and forth through the film. For instance, the binding of Catherine and Peter's hands at their marriage is later echoed by an unquestionably similar knot Catherine ties in a napkin she is fondling, and then tosses onto the table of she and Peter's last meal together. The initiation of their marriage and the initiation of its end are in this way linked, and the audience is forced to take into account the changes in both their characters. Not only does the rhythm of these motifs remain figurative. The movement of the film takes on a distinct rhythm as well. A swinging motif is evident throughout, the bells, the incense burners, Catherine's swing, the hoopskirts, a baby's basket, and so on. In this the film takes the feel of a frenzied, but excellently choreographed dance.
But in all this there is one thing more noteworthy. Marlene Dietrich radiates! Quite possibly the most beautiful woman who ever lived, she begins innocent and virginal (seemingly intentionally melodramatically), standing out in a world of amorality. She is both the happiest and saddest point of the film. Her wedding to the vulgar Peter in an immense, yet claustrophobic cathedral is the most emotional part of the film. As it is filmed entirely in a series of close-ups of individuals, and long shots that blur their faces, there is no discernible eye connection between any of the characters. She is completely alone. As a voyeuristic camera cuts closer and closer to her trembling, veiled face, we suddenly feel the need to turn away. We know now that this last thread of decency is about to be crippled. Soon enough her innocence begins to fade before her sexuality, and the surroundings that once nearly suppressed her, she lords over, a queen of immorality.
"The Scarlet Empress" expresses the essence of film, and why it succeeds as an art form. It creates the possibility of a world almost wholly artificial, divorced from anything that ever was. It retains only fragmentary reproductions of something that existed in a pre-filmed state, combining and distorting them to effect something 90% fake. What's more that seems all it is interested in. No other artistic medium (aside from painting) is viewed worthy of its visuals, and all theatrical, literary, or other requirements are given little attention. They are flippantly thrown in only to please a narrow minded audience, and occasionally (but very, very rarely) to accentuate the films themes. Yet painting, ah yes, painting. That was a medium worthy of a brilliant visionary like Sternberg, and one he transferred to the screen with gusto. "The Scarlet Empress" is to Dali in its obsession with the bizarre, da Vinci in its detail, Picasso in its complexity of associations, but entirely Sternberg in its conception.


How great a share has the top ten percent of the American income distribution earned over time?
In 1917, the top 10% of "tax units" had about 40% of national income. The percent of the income earned by this group rose until about 1929, ranged from about 44% to about 46% until 1940, then plummeted to the area of 32% during the war, and sat there until about 1972. From 1972 to 1998, the share of income received by this group rose almost continuously, ending the period in the area of 42%.
Percentiles 90-99 appear to rise gradually from 1917 to 1940, do the 1940 WWII drop, then, following the war, begin a long sustained increase through 1998.
But the top percentile is all over the place. The authors had enough data to start this series up in 1913, before the start of WWI. It plummets on U.S. entry into the war and during a post-war depression, rises through the boom of the 1920s, peaking in 1929, plummets with the onset of the Great Depression, and again with the onset of WWII, then continues to fall following the war, bottoming out about 1972, and then rising over the period 1972-1998. A large part of this last rise takes place in 1987 and 1988, following the Tax Reform Act of 1986….
What else do we learn? War and other disruptions appear to damage capital income more than labor income. If that is the case, a healthy and peaceful society might have increasing income inequality. In other words, if we are lucky, income inequality will increase even more.


I define employee engagement as a corporate philosophy.
Our biggest challenge in employee engagement is delivering change, not just talking about it.
A powerful way to create greater employee engagement is to get involved, connected, linked in with your staff and managers.
I am personally most engaged at work when I am am am not on social networking sites.
To learn more about employee engagement I encourage people to ask questions and listen to what employees say.
If you would like to get in contact with Stuart please email me.
I define employee engagement as a positive work environment in which we contribute to an endeavor out of passion and excitement, not out of monetary obligation.
Our biggest challenge in employee engagement is moving senior leadership from buy-in to ownership of an engaging environment..
A powerful way to create greater employee engagement is to focus on relationship, trust and communication.
To learn more about employee engagement explore those moments in their workday when they feel most energized and alive.
To learn more about Trevor Nagle click here.
I define employee engagement as people who want to be at work and give more than what would otherwise be expected, willingly!
Our biggest challenge in employee engagement is overcoming the mindset that it takes a lot of time and money. Which it doesn't.
A powerful way to create greater employee engagement is to say "hello" and "thank you" to people.
I am personally most engaged at work when I get to work on what I want and present my own work at higher levels.
To learn more about employee engagement find a "study buddy" and talk about it.
To learn more about Lisa Sansom's work, click here.


text:
Agenda View Month View
Categories Board Meeting Committee Meeting Holiday Organizers Tags Venues Main Board Room Leslie O.Carter Water Treatment Plant
Jan 23 @ 6:00 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2023/01/AgendaRegular1-23-23.pdf
Mon, January 23, 2023
2029 East Avenue Q
Outreach Committee Meeting
Jan 18 @ 10:00 am | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2023/01/AgendaOutreach1-18-23.pdf
Finance Committee Meeting
https://www.palmdalewater.org/wp-content/uploads/2023/01/AgendaFinance1-17-23.pdf
Tue, January 17, 2023
PRWA Meeting
Jan 17 @ 6:00 pm | 38300 Sierra Highway, Suite B
https://www.palmdalewater.org/wp-content/uploads/2023/01/NoticeCancellationPRWA1-17-23.pdf
38300 Sierra Highway, Suite B
Board Meeting Agenda
Jan 9 @ 6:00 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2023/01/AgendaRegular1-9-23.pdf
Mon, January 9, 2023
PWD Observed Holiday
Dec 26 @ 6:00 pm | Palmdale Water District Main Office 2029 East Avenue Q
Mon, December 26, 2022
Palmdale Water District Main Office 2029 East Avenue Q
Dec 21 @ 10:00 am | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/12/AgendaOutreach12-21-22.pdf
Wed, December 21, 2022
Dec 20 @ 1:30 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/12/AgendaFinance12-20-22.pdf
Tue, December 20, 2022
Special Board Meeting
https://www.palmdalewater.org/wp-content/uploads/2022/12/AgendaSpecialGMEval12-19-22.pdf
https://www.palmdalewater.org/wp-content/uploads/2022/12/AgendaRegular12-12-22.pdf
Antelope Valley State Water Contractors Association Meeting
Dec 8 @ 6:00 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/12/AVSWCAAgenda12-8-22.pdf
Thu, December 8, 2022
Nov 28 @ 6:00 pm | 2029 East Avenue Q
Mon, November 28, 2022
Nov 16 @ 10:00 am | 2029 East Avenue Q
Wed, November 16, 2022
Tue, November 15, 2022
Nov 11 @ 6:00 pm | Palmdale Water District Main Office 2029 East Avenue Q
Fri, November 11, 2022
Special Finance Committee Meeting
Nov 2 @ 1:30 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/10/AgendaFinanceSpecial11-2-22.pdf
Wed, November 2, 2022
Oct 24 @ 6:00 pm | 2029 East Avenue Q
Mon, October 24, 2022
Wed, October 19, 2022
Tue, October 18, 2022
Palmdale Recycled Water Authority Meeting
Oct 17 @ 6:00 pm | City of Palmdale, 38300 Sierra Highway, Suite B
https://www.palmdalewater.org/wp-content/uploads/2022/10/AgendaPRWA10-17-22.pdf
City of Palmdale, 38300 Sierra Highway, Suite B
Resource & Facilities Committee Meeting
https://www.palmdalewater.org/wp-content/uploads/2022/10/AgendaResourceFacilities10-13-22.pdf
Thu, October 13, 2022
https://www.palmdalewater.org/wp-content/uploads/2022/10/AVSWCAAgenda10-13-22.pdf
https://www.palmdalewater.org/wp-content/uploads/2022/10/AgendaPersonnel10-12-22.pdf
Strategic Plan Special Meeting Workshop
Oct 3 @ 4:00 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/09/AgendaSpecialWorkshopStrategicPlan10-3-22.pdf
Mon, October 3, 2022
Sep 27 @ 1:00 pm | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/09/AgendaSpecialGMEval9-27-22.pdf
Tue, September 27, 2022
Mon, September 26, 2022
Wed, September 21, 2022
Notice of Cancellation PRWA
Sep 19 @ 6:00 pm | 38300 Sierra Highway, Suite B
Thu, September 15, 2022
Sep 13 @ 9:00 am | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/09/AgendaPersonnel9-13-22.pdf
Public Facilities Corporation Annual Meeting
https://www.palmdalewater.org/wp-content/uploads/2022/09/AgendaPublicFacilitiesCorp9-12-22.pdf
Sep 5 @ 6:00 pm | Palmdale Water District Main Office 2029 East Avenue Q
Mon, September 5, 2022
Aug 31 @ 2:00 pm | 2029 East Avenue Q
Wed, August 31, 2022
Aug 29 @ 9:00 am | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/08/AgendaSpecialWorkshopStrategicPlan8-29-22.pdf
Mon, August 29, 2022
AVSWCA Meeting
Aug 18 @ 6:00 pm |
https://www.palmdalewater.org/wp-content/uploads/2022/08/AVSWCAAgenda8-18-22.pdf
Aug 15 @ 6:00 pm | 38300 Sierra Highway, Suite B
Aug 8 @ 6:00 pm | 2029 East Avenue Q
Mon, August 8, 2022
Jul 28 @ 4:00 pm | 2029 East Avenue Q
Mon, July 25, 2022
Finance Committee Meeting Agenda
Tue, July 19, 2022
Palmdale Recycled Water Authority Agenda
Jul 18 @ 6:00 pm | 38300 Sierra Highway, Suite B
https://www.palmdalewater.org/wp-content/uploads/2022/07/AgendaPRWA7-18-22.pdf
Resource and Facilities Committee Meeting
Jul 14 @ 7:00 am | 2029 East Avenue Q
https://www.palmdalewater.org/wp-content/uploads/2022/07/AgendaResourceFacilities7-14-22.pdf
Jul 4 @ 6:00 pm | Palmdale Water District Main Office 2029 East Avenue Q
Mon, July 4, 2022
Jun 27 @ 6:00 pm | 2029 East Avenue Q
Mon, June 27, 2022
Wed, June 22, 2022


To help meet the growing demand, Meadowvale Secondary School will become the fifth school to offer the Peel Schools for International Students program, beginning September 2019. Located in Mississauga, Meadowvale offers a wide range of extracurricular activities and Specialist High Skills Major programs that provide students with numerous opportunities to explore various pathways. To learn more about the school, visit http://schools.peelschools.org/sec/meadowvale/Pages/default.aspx.
Meadowvale Secondary School will be available for new applicants only, effective immediately. Student placement is determined by Peel District School Board administration based on availability.
Contact us with your questions—we're happy to help!
Rick Hansen will be available for new applicants only, effective February 13th, 2017. Student placement is determined by Peel District School Board administration based on availability.


For over 20 years, we've been in the business of providing car enthusiasts like yourself with the means to restore and renew timeless rides once again. We take care of classic car, truck, and muscle car owners to ensure that we can help you complete the restorative look and style you are searching for.
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Bring a large pot of salted water to the boil. Add the juice of 1 lemon and the spaghettini and cook until al dente (4–5 minutes). Drain and return to the warm pot.
Meanwhile, heat the olive oil in a large frying pan over a medium heat. Add the garlic and leek and sauté for 5 minutes, or until the leek is soft and transparent. Season with freshly ground black pepper.
Tip the leek mixture into the pasta, then add the lemon zest, remaining lemon juice, capers, parsley, chives and parmesan, stirring them through the pasta.
Divide among four warm pasta bowls and top with the sliced smoked salmon.


Photo Credit: Photo by Visual Information Specialist Jason Johnston A Soldier assigned to 1st Battalion, 10th Special Forces Group (Airborne), salutes his fellow Soldiers while jumping out of a C-130 Hercules aircraft over a drop zone in Germany, Feb. 24, 2015.
National Airborne Day is a day designated by the United States Congress to honor the nation's airborne forces of the Armed Forces. It was created in 2001 by George W. Bush.
August 16, 1940 marked the first official Army parachute jump, validating the innovative concept of inserting United States ground combat forces behind a battle line by parachute.
The history of airborne forces began after World War I, when Brigadier General William Mitchell first conceived the idea of parachuting troops into combat. Eventually, under the leadership of Major William Lee at Fort Benning, Georgia, members of the Parachute Test Platoon pioneered methods of combat jumping in 1940. In November 1942, members of the 2nd Battalion, 509th Parachute Infantry Regiment, conducted America's first combat jump, leaping from a C-47 aircraft behind enemy lines in North Africa. This strategy revolutionized combat and established airborne forces as a key component of our military.
The elite airborne ranks include prestigious groups such as the 173rd Airborne Brigade Combat Team, "Sky Soldiers," 82nd Airborne Division, "All American," and the "Screaming Eagles" of the 101st Airborne Division (Air Assault). Airborne forces have also been represented in the former 11th, 13th, and 17th Airborne Divisions and numerous other Airborne, glider and air assault units and regiments. Paratroopers in the Army's XVIII Airborne Corps, the 75th Infantry (Ranger) Regiment and other Special Forces units conduct swift and effective operations in defense of peace and freedom.
On August 3, 2009 the Senate recognized National Airborne Day with Senate Resolution 235.
Designating August 16, 2009, as "National Airborne Day".
calls on the people of the United States to observe National Airborne Day with appropriate programs, ceremonies, and activities.
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The Three Musketeers: screencaps - Michael Gothard Archive
The Three Musketeers: screencaps
Dec. 21st, 1973 | 10:00 pm
Felton (Michael Gothard) - right of centre, with the white collar - looks with a jaundiced eye upon a ball, where
his master, the Duke of Buckingham (Simon Ward) encounters the treacherous Milady de Winter (Faye Dunaway.)
Felton, a Puritan, has left the party, and is having a nap outside Buckingham's rooms, when he hears Buckingham
approaching. Buckingham is evidently about to get better acquainted with Milady.
Buckingham casually insults Felton for his long face, and tells him to go to bed. Felton clearly resents this
Here, D'Artagnan (Michael York) is bringing a message to Buckingham, accompanied by his manservant, Planchet
(Roy Kinnear.) D'Artagnan needs to retrieve the Queen of France's diamonds, which she gave to Buckingham ...
but Buckingham finds that Milady used their dalliance to steal two of them.
Felton refuses to admit Planchet to the secret chamber where the matter is being discussed. There is
a bit of comic business between them.
Felton fails to warn Planchet about where he chooses to stand, while waiting for D'Artagnan to emerge from
the talks.
Determined to save the reputation of the Queen of France, Buckingham demands Felton produce first his
secretary, and then a jeweller.
Felton, a Puritan, watches and listens, clearly disapproving of the price Buckingham, King James I's Chief
Minister, is prepared to pay, to protect the reputation of the Roman Catholic Queen of France.
Later, Felton is again a silent witness to friendly interactions between D'Artagnan and the Duke of Buckingham.
D'Artagnan is given a fine sword in thanks for his services to the Queen of France.
While Michael Gothard's character, Felton, only has a small amount of time on screen in 'The Three Musketeers',
the scene has already been set for his betrayal and murder of the Duke of Buckingham, in 'The Four Musketeers.'
Tags: film, musketeers, screencaps, the three musketeers (1973)