text:
Pixies_•_Beneath_The_Eyrie_•_Biography.d
Beneath The Eyrie
Project Biography
They're out at the old church, the locals said, hiding in the shadow of the one-armed cross. Holed up in cabins crawling with critters, firing up the organ every morning, wailing songs of curses, death, witchcraft and unsatisfied spirits late into the night, on guitars embedded with their own dead teeth.
Pixies, they call 'em, out there in the wilds of Woodstock, beneath the eyrie.
"It felt a bit haunted," says bass Pixie Paz Lenchantin of Pixies' four weeks at Dreamland Recording Studio, in the frost-bitten run-up to Christmas 2018. "We could've been filming a Blair Witch at the same time. The aura was thick. There was definitely a fifth member inside the church."
The making of the third new album since Pixies reformed in 2004 was cold on the bones, but warm on the marrow. After three decades beset with upheavals, splits, trials, and tribulations, Pixies was finally a band at ease with itself. Their first era - when Charles Thompson IV returned from a student exchange trip to Puerto Rico, dropped out of college, renamed himself Black Francis and, in January 1986, convinced his ex-University of Massachusetts Amherst roommate Joey Santiago to start a band with him - redefined alternative rock and set the dynamic blueprint not just for grunge but underground guitar music for decades to come, but it was as fiery and turbulent off-record as on. Even as Francis turned his Pentecostal upbringing, flair for all things Spanish and interest in the seedier, more violent Biblical tales and mythologies into gruesome yet melodic punk noirs on seminal early albums Surfer Rosa (1988) and Doolittle (1989), and indulged his sci-fi obsessions on the silvered savagery of Bossanova (1990) and Trompe Le Monde (1991), the band fought and fractured. By 1993, the combination of Francis's rabid roars and saccharine pop babbles, Santiago's rattlesnake guitar squirms, Dave Lovering's brutalist drumming, and Kim Deal's cat-purr basslines had made them influential, era-defining indie rock giants. But they were Pixies no more.
Re-emerging in 2004, Pixies rode back into a town they'd designed on a wave of dark jubilation, headlining festivals such as Reading & Leeds and gathering plaudits like shrunken heads in a bag. Their first new song in thirteen years, "Bam Thwok," topped download charts in 2004, but there were still rocks in the road ahead. Reluctant to make a new album, Deal left the band in 2013, so Pixies' sensational sonic sprawl of a comeback album, Indie Cindy (released as three EPs in 2013-14, then compiled into an album) was recorded with Jeremy Dubs of Bunnies on bass, and toured with Muffs singer Kim Shattuck stage left. Lenchantin, boasting A Perfect Circle, Queens of The Stone Age and Zwan on her immaculate indie rock CV, replaced Shattuck for the 2014 tour, becoming a fully paid-up Pixie in 2016, in time to record the abrasive sixth album Head Carrier (2016). That album saw long-term producer Gil Norton replaced by Tom Dalgety (Royal Blood). "That was quite invigorating, trying something new," says Dave, and its tour saw one last rattle off-road.
"We coasted over it," Dave says of Joey having to leave the tour to enter rehab in 2016. "It was a wrench thrown in, but as usual we just picked up and carried on, for the better of Joe. Joe's been a trouper, he's been nailing it, so it's been wonderful. I'm glad it all happened actually." "When you don't drink there's a lot of clarity," says Black Francis, himself trying his hand at sobriety for a while. "So when he stopped drinking… you got more of Joey. As a non-drinking musician, Joey's a lot more in control of what he's doing, the execution is so much more crisp and immediate."
With Joey back in the fray, his Pixie claws cleaned and sharpened, the band regrouped - "stronger than ever, it feels like a real family," says Paz - and resumed their relentless touring schedule, taking in a co-headline tour with Weezer in summer 2018 ("Everything about it was fantastic," says Dave, "it was a circus") and live residencies in New York and London, immersed in the early Pixies artwork of Vaughan Oliver, to celebrate the 30th anniversary and deluxe reissue of Surfer Rosa (Dave: "A joy to play, those songs are like riding a bike").
Meantime, new sounds started bubbling out of the cauldron again. A handful of songs that hadn't stewed quite long enough to make it onto Head Carrier were still in the mix. A clutch more came together during three weeks of pre-production rehearsals up near Charles's place in Massachusetts, spring of '18. A few more ideas span themselves out of sound checks, spidery little critters. By the time Pixies wended their way to Woodstock that winter, they had half an album pulling them this way and that, like will-o'-the-wisps coming in from the woods.
All sonic intentions, as is Pixies' way, were left unsaid. "There's no speaking of music," says Paz; what would come would come. But there was a sense of freedom in Dreamland's ghost-thick aura, of a consolidation period, completed and horizons thrown wide. Indie Cindy had been an exploratory, transitional foray out of their comfort zone, imagining what music Pixies would have been making during their decade stranded on some faraway planet of sound - by turns frenzied, glacial and sci-fi serene. Head Carrier had taken them, in Joey's words "back to Pixie-land", a dense, inward-looking record, by Pixies for Pixies, nodding to Surfer Rosa and Doolittle as Dalgety pushed everything into the red. This time, even as they joked and cooked and meshed creatively like never before in their communal house - "It definitely felt really solid as a band," Francis recalls, "we arrived as a band, intact" - each Pixie brought their own secretive piece to the puzzle.
"At one point I thought that we were going for some kind of western sound and I kinda ran with that for myself," Joey reveals. "I was into Ennio Morricone again, a grown-up version of surf music. Anytime I could put a western twang on there, I'd try my darndest to do it." Paz, encouraged to contribute songs and lyrics during wine-fueled late night writing sessions with Francis emerged with two songs, "The Long Rider" and "Los Surfer Muertes," dedicated to a surfing friend and "legend in the water" called Desiree who died catching waves while Paz was recording Head Carrier: "It was a fluke," she says "the fin hit her and she drowned. It's in a light spirit - she couldn't think of a better way to go."
And as for Francis, who spent most mornings teasing melodies out of the church's organ, he allowed himself one word of dark guidance. "Before we embarked on the record I said to Tom 'I don't know, but maybe this record is gonna have a more gothic feel.' When we arrived at the studio, it's a kinda spooky, gothic kind of a place, so if something suggested lyrically or musically something gothic, we made it more gothic, because that was the improv word that had been thrown at us. Anything that suggested gothic, we totally embraced it. So the record overall has that kind of a vibe. Every song fits that category. It's a little bit darker. It's elemental; it's moon, sky, water, tree, earth, ice, wind, spirits, animal spirits, death, battling or grappling with something, with forces, some of them seen, some of them unseen."
How dense the macabre? Francis even brought along a four-stringed guitar he'd had custom made with a large molar he'd recently lost embedded in resin in the headstock, roots and all. "I think it's cool," he says, "but most people I show it to find it gross or weird."
No wonder Pixies emerged from Dreamland with a record - Beneath The Eyrie, named after the bald eagle's nest – or "eyrie" - that Dave spotted in a tree by some abandoned railroad tracks just behind the studio - that reads like a dusty book of eerie folklore tales, full of black arts, Byronesque imagery, death, and its aftermath. "On Graveyard Hill," the cranky new wave "Debaser" that was Paz's third co-write on the record, pictures a witch called Donna casting a fatal curse - or is it a love spell? - on her unsuspecting lover. "This Is My Fate," ("a Twilight Zone episode," according to Charles) portraits a drunkard riding the mule trains out of Harmony Borax in Death Valley, high on mandrake root. The dreamy alt-pop limbo of "Daniel Boone," inspired by Francis almost hitting a reindeer on a foggy drive to the church, imagines a spirit rising from the wreckage that might have been, bound for reincarnation.
Most Coleridgean of all is "Silver Bullet," a visceral Morricone gunfight theme left over from Head Carrier, in which a "man condemned" wanders the night, hunting out a duel to end his internal torment. "It's become more doppelganger," Francis says. "Right after the song was done my daughter was like 'silver bullet? This is a werewolf song." After she told me that it did take on that kind of aspect to it. Whether it's literally a werewolf I don't know, but it's definitely one wrestling with oneself."
Supernatural beings abound. The furious, frustrated punk searching the streets of "St Nazaire" for a "selkie bride." a Gaelic seal woman who can return to the sea if her seal coat survives her romantic liaisons. And then there's Black Jack Hooligan, the Scottish sprite telling the tale of how his girlfriend became known as "Catfish Kate." "This is a story from my childhood that I inherited from my father," Charles says of the album's breezy, infectious track. "I told the same story to my kids when they were younger. Kate's up there in the mountains of South Dakota or wherever in the 1800s, she's living in the world of Native Americans and fur traders and soldiers and wanderers. She falls into the river one day, she's taken into the river by a giant catfish, she wrestles with the catfish. There's a gothic feel to that, this woman battling with a monster-sized catfish, emerging from the water wearing the skin of the catfish as her new robe with the blood dripping – 'I am alive, I battled all night long with the catfish, and I won, I ripped him open.' She's victorious."
Here, and throughout the record, a painful subtext is at play. Black Francis has recently undergone a divorce, the lyrical impact of which he was unaware of as the songs came together but is blinding in retrospect. Compulsive album opener "In The Arms Of Mrs. Mark Of Cain" speaks of being content in a cursed relationship (note the piano reprise from "Motorway To Roswell" at the end). "Ready For Love" is as blatantly, brutally romantic as Pixies have ever dared to be. The bitter, snarling "Bird Of Prey" might be told from the perspective of what Francis describes as "an unsatisfied spirit riding a Calèshe like the ghost-riders in the sky - 'I am here to haunt again because I am not satisfied,'" but linger too long on lines like "you've stolen my tomorrow/So I come for it today/You stole it when you stole my yesterday" and even Francis admits it's a divorce song: "I didn't necessarily know it at the time but I do now. It's a song of longing I guess… it's about the loss of love."
Death hangs heavy over Beneath The Eyrie, not least on the deceptively jaunty campfire closer, "Death Horizon," Here's a vast millennium of endings. Short term, it's the death of a relationship. Medium term, the extinction of humanity by its own carbon smothered hand. And long term, the death of the Earth in a supernova fireball. A near infinity of horizons, each darker than the last. "Here we are standing on the seashore looking at the horizon," says Francis, "and even though the sun, for all of our lives represents life, we know from our knowledge of the stars that one day that star disappears. That star blows up or implodes or whatever stars do when they finish their cycle. That usually means the end of everything in its orbit. We already know what the end of the story is, so there's that more cosmic finality. There's the death of the here and now and the things that are important to us in our current lives, then there's the death of humanity, and then there's the ultimate one - at the end of the day it all goes up in a supernova anyway. If you were gonna add a fourth level to it, it's also the death of the record, isn't it? It's like 'you've heard everything, you've heard all of the stories, you've heard the songs, you've experienced everything, the record's over now'."
Beneath The Eyrie recaptures the rabid velocity, boundless invention and vivid, enveloping aesthetic of Pixies' legendary early albums without feeling the need to recreate them. Instead the band toys with new wave, ragtime, Gallic noir, western psych, doom rock, Weezer pop and the vaudevillian cabaret they only hinted at on "Mr. Grieves." "We can do any kind of song, it doesn't matter if it's reggae, ska, jazz, Europop, we can make an attempt at it," says Dave, and the creativity in full flow now that Pixies are a solid family again is evinced by the fact that eight or nine songs from the album's demo sessions will be released as a companion album. "There are at least two of them that I really like," says Dave. "I wish they were on the album. One or two of them might be better than the record so it might take off!"
For the first time, we'll get a peek behind the curtain of Beneath The Eyrie too. Journalist Tony Fletcher miked up the band and studio for the entire month to document the making of the record for a podcast series called "It's a Pixies Podcast," premiering in June. A podcast liable to bury Pixies' reputation as glowering devils forever. "In our later years, we joke and play around way, way, way more than ever in the past," Dave says, and Joey agrees. "People are gonna be surprised how not precious we are making a record. There's a lot of buffoonery and Dalgetafoolery going on. People probably think we're really serious about making our craft but, to us, it's one big fun-fest."
There they were, Pixies, out at the church with the one-armed cross, cackling into the night. Weaving music that grips like a spell, crushes like a curse.
PIXIES HOME
ARTISTS HOME


text:
La Banca Popolare di Bisceglie è stata una banca fondata a Bisceglie nel 1913 e fusa con la Banca del Salento nel 1989.

Storia
La Banca Popolare di Bisceglie era un istituto di credito con sede a Bisceglie, fondato il 21 aprile del 1913 per iniziativa degli avvocati Domenico Nardi e Mauro Panunzio, insieme ad un gruppo di commercianti e di professionisti biscegliesi.
Gli azionisti fondatori furono 40 e le azioni 471. Il primo presidente fu l'avvocato Domenico Nardi ed il vicepresidente Carlo Serpieri. I primi dirigenti furono: Mauro Panunzio, Giacinto Dell'Olio e Sergio Pasquale. La prima sede era ubicata in Bisceglie sulla vecchia via per Corato (attuale via Alcide De Gasperi) nell'edificio dell'orfanotrofio Bombini.
A partire dal 1958 la banca attraversò  un significativo periodo di crescita patrimoniale sotto la guida dell'ingegner Michele Dell'Olio. La Banca Popolare di Bisceglie, oltre alle normali operazioni bancarie,  sostenne l'economia locale concedendo crediti sulle nuove costruzioni di alloggi, anticipazioni ad imprese che lavoravano nel settore dei lavori pubblici, crediti ad imprese commerciali ed artigiane.
Dal 1971 la banca si trovò a fronteggiare una grave crisi finanziaria, che venne superata solo dopo il 1985.
Dopo qualche anno dalla ripresa, a partire dal 1988, il consiglio di amministrazione della Banca di Bisceglie spa venne presieduto, da Lorenzo Gorgoni, che guidò l'istituto in una travagliata fase di transizione verso la fusione con la Banca del Salento, avvenuta nel 1989, e divenuta successivamente Banca "121".
L'Istituto, che aveva filiali a Canosa di Puglia, Trani e Corato, dopo la fusione con la Banca del Salento, ha cessato d'esistere il 30 settembre 1990.

Note

Bibliografia
Mario Cosmai, Storia di Bisceglie, Bisceglie, edizioni il Palazzuolo, 1960

P
Bisceglie
Gruppo Montepaschi

redpajama_set_name: RedPajamaWikipedia


Youth team keeper called into the squad with the departure of Paul Robinson and Shaun Allaway.
scott_in_miggy says: Anyone know anything about this guy?? Never heard of him personally. Where has Allaway gone? Will Coyles be Leeds' reserve Keeper if we don't sign any other GK??


text:
package vn.tiki.viewholders;

import static com.google.common.truth.Truth.assertAbout;
import static com.google.testing.compile.JavaSourceSubjectFactory.javaSource;
import static com.google.testing.compile.JavaSourcesSubjectFactory.javaSources;

import com.google.testing.compile.JavaFileObjects;
import java.util.Arrays;
import javax.tools.JavaFileObject;
import org.junit.*;
import vn.tiki.viewholders.compiler.ViewHolderProcessor;

public class ViewHolderProcessorTest {

  private JavaFileObject source;

  @Before
  public void setUp() throws Exception {
    source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = 10,\n"
        + "    onClick = {1, 2},\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test {"
        + "  void bindView(final View view) {}\n"
        + "  void bind(final String item) {}"
        + "}"
    );
  }

  @Test
  public void testGenerateNoAdapterFactory() {
    JavaFileObject noAdapterFactory = JavaFileObjects.forSourceString(
        "viewholders/NoAdapterFactory",
        ""
        + "package viewholders;\n"
        + "\n"
        + "import java.lang.InstantiationError;\n"
        + "import vn.tiki.noadapter2.OnlyAdapter;\n"
        + "import vn.tiki.viewholders.OnlyDiffCallback;"
        + "\n"
        + "public final class NoAdapterFactory {\n"
        + "\n"
        + "  private NoAdapterFactory() {\n"
        + "    throw new InstantiationError();\n"
        + "  }\n"
        + "\n"
        + "  public static OnlyAdapter.Builder builder() {\n"
        + "    return new OnlyAdapter.Builder()\n"
        + "        .typeFactory(new TypeFactoryImpl())\n"
        + "        .viewHolderFactory(new ViewHolderFactoryImpl())\n"
        + "        .diffCallback(new OnlyDiffCallback());\n"
        + "  }\n"
        + "}\n"
    );

    assertAbout(javaSource()).that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(noAdapterFactory);
  }

  @Test
  public void testGenerateTypeFactory() {
    JavaFileObject source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = 10,\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test {"
        + "  void bind(String item) {}"
        + "}"
    );
    JavaFileObject typeFactory = JavaFileObjects.forSourceString(
        "viewholders/TypeFactoryImpl",
        ""
        + "package viewholders;\n"
        + "import java.lang.IllegalArgumentException;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import java.lang.String;\n"
        + "import vn.tiki.noadapter2.TypeFactory;\n"
        + "\n"
        + "final class TypeFactoryImpl implements TypeFactory {\n"
        + "\n"
        + "  @Override\n"
        + "  public int typeOf(Object item) {\n"
        + "    if (item instanceof String) {\n"
        + "      return 10;\n"
        + "    } else {\n"
        + "      throw new IllegalArgumentException(\"unknown \" + item.getClass());\n"
        + "    }\n"
        + "  }\n"
        + "}\n"
    );

    assertAbout(javaSource()).that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(typeFactory);
  }

  @Test
  public void testGenerateViewHolderDelegate() {
    JavaFileObject viewHolderDelegate = JavaFileObjects.forSourceString(
        "test/Test_ViewHolderDelegate",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import java.lang.String;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "public final class Test_ViewHolderDelegate extends Test implements ViewHolderDelegate {\n"
        + "  @Override\n"
        + "  public void bind(Object item) {\n"
        + "    super.bind((String) item);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void unbind() {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void bindView(View view) {\n"
        + "    super.bindView(view);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int layout() {\n"
        + "    return 10;\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int[] onClick() {\n"
        + "    return new int[] { 1, 2 };\n"
        + "  }"
        + "}"
    );

    assertAbout(javaSource()).that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderDelegate);
  }

  @Test
  public void testGenerateViewHolderDelegateExtends() {

    final JavaFileObject base = JavaFileObjects.forSourceString(
        "test.Base",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "public abstract class Base {"
        + "  void bindView(View view) {}"
        + "}"
    );
    final JavaFileObject source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = 10,\n"
        + "    onClick = { 1, 2 },\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test extends Base {"
        + "  void bind(final String item) {}"
        + "}"
    );
    JavaFileObject viewHolderDelegate = JavaFileObjects.forSourceString(
        "test/Test_ViewHolderDelegate",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import java.lang.String;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "public final class Test_ViewHolderDelegate extends Test implements ViewHolderDelegate {\n"
        + "  @Override\n"
        + "  public void bind(Object item) {\n"
        + "    super.bind((String) item);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void unbind() {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void bindView(View view) {\n"
        + "    super.bindView(view);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int layout() {\n"
        + "    return 10;\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int[] onClick() {\n"
        + "    return new int[] { 1, 2 };\n"
        + "  }"
        + "}"
    );

    assertAbout(javaSources())
        .that(Arrays.asList(base, source))
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderDelegate);
  }

  @Test
  public void testGenerateViewHolderDelegateNoBind() {

    final JavaFileObject source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = 10,\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test {"
        + "}"
    );
    JavaFileObject viewHolderDelegate = JavaFileObjects.forSourceString(
        "test/Test_ViewHolderDelegate",
        ""
        + "package test;\n"
        + "\n"
        + "import android.view.View;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "\n"
        + "public final class Test_ViewHolderDelegate extends Test implements ViewHolderDelegate {\n"
        + "  @Override\n"
        + "  public void bind(Object item) {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void unbind() {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void bindView(View view) {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int layout() {\n"
        + "    return 10;\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int[] onClick() {\n"
        + "    return new int[0];\n"
        + "  }"
        + "}"
    );

    assertAbout(javaSource())
        .that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderDelegate);
  }

  @Test
  public void testGenerateViewHolderDelegateNoBindView() {

    final JavaFileObject source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = 10,\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test {"
        + "  void bind(final String item) {}"
        + "}"
    );
    JavaFileObject viewHolderDelegate = JavaFileObjects.forSourceString(
        "test/Test_ViewHolderDelegate",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import java.lang.String;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "public final class Test_ViewHolderDelegate extends Test implements ViewHolderDelegate {\n"
        + "  @Override\n"
        + "  public void bind(Object item) {\n"
        + "    super.bind((String) item);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void unbind() {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void bindView(View view) {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int layout() {\n"
        + "    return 10;\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int[] onClick() {\n"
        + "    return new int[0];\n"
        + "  }"
        + "}"
    );

    assertAbout(javaSource())
        .that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderDelegate);
  }

  @Test
  public void testGenerateViewHolderDelegateR2() {

    JavaFileObject nonFinal = JavaFileObjects.forSourceString(
        "test.R",
        ""
        + "package test;\n"
        + "public final class R {\n"
        + "  public static final class layout {\n"
        + "    public static final int product = 0x7f040001;\n"
        + "  }\n"
        + "  public static final class id {\n"
        + "    public static final int name = 0x7f040004;\n"
        + "    public static final int image = 0x7f040005;\n"
        + "  }\n"
        + "}");

    JavaFileObject r2Final = JavaFileObjects.forSourceString(
        "test.R2",
        ""
        + "package test;\n"
        + "public final class R2 {\n"
        + "  public static final class layout {\n"
        + "    public static final int product = 0x7f040001;\n"
        + "  }\n"
        + "  public static final class id {\n"
        + "    public static final int name = 0x7f040004;\n"
        + "    public static final int image = 0x7f040005;\n"
        + "  }\n"
        + "}");
    final JavaFileObject source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = R2.layout.product,\n"
        + "    onClick = {R2.id.name, R2.id.image},\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test {"
        + "  void bind(final String item) {}"
        + "}"
    );
    JavaFileObject viewHolderDelegate = JavaFileObjects.forSourceString(
        "test/Test_ViewHolderDelegate",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import java.lang.String;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "public final class Test_ViewHolderDelegate extends Test implements ViewHolderDelegate {\n"
        + "  @Override\n"
        + "  public void bind(Object item) {\n"
        + "    super.bind((String) item);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void unbind() {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void bindView(View view) {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int layout() {\n"
        + "    return R.layout.product;\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int[] onClick() {\n"
        + "    return new int[]{test.R.id.name, test.R.id.image};\n"
        + "  }"
        + "}"
    );

    assertAbout(javaSources())
        .that(Arrays.asList(nonFinal, r2Final, source))
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderDelegate);
  }

  @Test
  public void testGenerateViewHolderDelegateUnBind() {

    final JavaFileObject source = JavaFileObjects.forSourceString(
        "test.Test",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import vn.tiki.viewholders.ViewHolder;\n"
        + "@ViewHolder(\n"
        + "    layout = 10,\n"
        + "    bindTo = String.class\n"
        + ")"
        + "public abstract class Test {"
        + "  void bind(final String item) {}"
        + "  void unbind() {}"
        + "}"
    );
    JavaFileObject viewHolderDelegate = JavaFileObjects.forSourceString(
        "test/Test_ViewHolderDelegate",
        ""
        + "package test;\n"
        + "import android.view.View;\n"
        + "import java.lang.Object;\n"
        + "import java.lang.Override;\n"
        + "import java.lang.String;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "public final class Test_ViewHolderDelegate extends Test implements ViewHolderDelegate {\n"
        + "  @Override\n"
        + "  public void bind(Object item) {\n"
        + "    super.bind((String) item);\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void unbind() {\n"
        + "    super.unbind();\n"
        + "  }\n"
        + "  @Override\n"
        + "  public void bindView(View view) {\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int layout() {\n"
        + "    return 10;\n"
        + "  }\n"
        + "  @Override\n"
        + "  public int[] onClick() {\n"
        + "    return new int[0];\n"
        + "  }"
        + "}"
    );

    assertAbout(javaSource())
        .that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderDelegate);
  }

  @Test
  public void testGenerateViewHolderFactory() {
    JavaFileObject viewHolderFactory = JavaFileObjects.forSourceString(
        "viewholders/ViewHolderFactoryImpl",
        ""
        + "package viewholders;\n"
        + "\n"
        + "import android.view.ViewGroup;\n"
        + "import java.lang.IllegalArgumentException;\n"
        + "import java.lang.Override;\n"
        + "import test.Test_ViewHolderDelegate;\n"
        + "import vn.tiki.noadapter2.AbsViewHolder;\n"
        + "import vn.tiki.noadapter2.ViewHolderFactory;\n"
        + "import vn.tiki.viewholders.OnlyViewHolder;\n"
        + "import vn.tiki.viewholders.ViewHolderDelegate;\n"
        + "\n"
        + "final class ViewHolderFactoryImpl implements ViewHolderFactory {\n"
        + "\n"
        + "  @Override\n"
        + "  public AbsViewHolder viewHolderForType(ViewGroup parent, int type) {\n"
        + "    final ViewHolderDelegate viewHolderDelegate = makeViewHolderDelegate(type);\n"
        + "    return OnlyViewHolder.create(parent, viewHolderDelegate);\n"
        + "  }\n"
        + "\n"
        + "  private ViewHolderDelegate makeViewHolderDelegate(int type) {\n"
        + "    if (type == 10) {\n"
        + "      return new Test_ViewHolderDelegate();\n"
        + "    } else {\n"
        + "      throw new IllegalArgumentException(\"unknown type: \" + type);\n"
        + "    }\n"
        + "  }\n"
        + "}\n"
    );

    assertAbout(javaSource()).that(source)
        .withCompilerOptions("-Xlint:-processing")
        .processedWith(new ViewHolderProcessor())
        .compilesWithoutError()
        .and()
        .generatesSources(viewHolderFactory);
  }
}

redpajama_set_name: RedPajamaGithub


What is the NHIC and what does it do?
The NHIC was launched in 1974 with a simple mission 'To improve the quality and standards of Home Improvements". In the early years, the NHIC's main activities concentrated on lobbying government, research and co-operation with private and social sector housing.
But there is still much to be done – in fact, the need to raise awareness and standards of home improvement is never-ending. Challenges to address these days are the demographic demands of an increasing population, energy efficiency and carbon emissions, fuel poverty and the housing requirements of an ageing society.
Members of the NHIC make a real contribution to the future development of the nation's homes and help stimulate the economy in their own area of expertise.
DGCOS – Double Glazing & Conservatory Quality Assurance Ombudsman Scheme.
HIES - Home Insulation & Energy Systems Quality Assured Contractors Scheme.
HICS - Home Improvement Consumer Protection Scheme.
Where DGCOS' focus is on the double-glazing sector, HIES' primary focus is on the renewables sector and HICS focuses on other home improvements, such as kitchens, bathrooms and driveways. This means that whatever home improvement a consumer is purchasing, they can utilise a trader who is an accredited member of one of our schemes and have total peace of mind.
Other well-known NHIC members are the Federation of Master Builders, Local Authority Building Control (LABC), the National Federation of Roofing Contractors (NFRC), the GAS Safety Trust and TrustMark (the Government Endorsed Quality scheme for trusted traders). Earlier this year HIES was approved as a TrustMark Scheme Operator, ready for the launch of an extension of scope and revised branding , which will include a set of new Framework Operating Requirements, a Code of Conduct, Customer Charter and Technical Standards.
Why has our Group joined?
The NHIC are a fantastic organisation with a great reputation for working towards ensuring our industries are offering high quality services to customers. We look to work with companies who have a similar vision and mission to our own. We know that working with the NHIC, we can have a joint approach to cleaning up the industries downfalls.
Furthermore, being part of the NHIC makes other organisations that operate in our sectors more aware of the comprehensiveness of our consumer protection schemes, so enhancing their awareness of the high bar-setting of the insurance backed guarantees and dispute resolution processes which our Group gives to consumers for total peace of mind. We believe this will encourage other organisations in the home improvement sectors to improve their consumer protection offerings to make things better for consumers overall.
The great news is, we have already seen the benefits of our partnership and in the coming months, we are meeting with a well-known, well-established trade association who are also members of the NHIC. They are interested in being able to offer their customers worthwhile insurance backed guarantees and an industry leading dispute resolution service. Watch this space.
Does our Group play a major part in the NHIC?
Our Group has "enhanced" membership. This enables us to attend the NHIC's "Chatham Group" for senior executives of organisations who are at the cutting edge of raising standards and protecting consumers, and who are seriously committed to transforming the sector.
The Chatham Group consists of a select small number of NHIC members, who meet with the NHIC President (the Rt Hon Baroness Maddock) to discuss matters of importance relating to industry and policy. This enables our Group to lead discussions and influence lobbying activities in the sector based on our expertise of consumer protection.
Who represents our Group with the NHIC?
Our main representative is Adrian Simpson, our Director of Policy. The majority of the meetings are in London so Adrian is well placed to attend Leaders Council meetings and Chatham Group meetings as he is based in Kent.
Earlier this year Adrian was elected to the NHIC Board as a non-executive director. He therefore also attends two board meetings a year and helps shape decisions as regards the activities of the NHIC moving forward. Board meetings and Leaders Council meetings are chaired by the current NHIC Chairman, Paul Everall, Chief Executive of Local Authority Building Control.
What other events are organised by the NHIC?
Each year the NHIC organises at least one parliamentary event. In March of this year the parliamentary event was a Breakfast in the House of Lords, with the theme "Non-Compliance in the Home Improvement Sector". Hosted by Baroness Maddock with many invited MPs attending, it was an interesting and productive session, and a useful step in understanding the size and scale of the challenge of non-compliance as well as establishing a route to possible pathways towards solutions.
There is also the NHIC Annual Awards. Since 1974 these Awards have recognised achievement in UK Housing and have grown over the years to become highly regarded as the premier event in the home improvement and modernisation sector. This year the NHIC announced the creation of The George Clarke Medal, which was hosted as part of its Black-Tie Awards Ceremony held recently on the 22nd November at One Whitehall Place, London.


a tradition in many workplaces.
all week long. Show your appreciation for all their hard work on the official Administrative Professionals Day, which falls on Wednesday, April 24, 2019.
to enjoy over the weekend.


It's that time of the year again; there was word earlier this week about Lenovo coming out with new Intel Haswell-equipped ThinkPad models. But it appears the rumor mill has churned out a little something for fans of HP as well.
HP EliteBook Revolve 810 vs EliteBook 2760p: offspring or successor?


text:
Home News All eyes on the surging Greens as Prince Edward Island goes to...
All eyes on the surging Greens as Prince Edward Island goes to the polls (News)
After a brief provincial election campaign devoid of drama, voters on Prince Edward Island appear poised to stir things up and make some history when they cast their ballots Tuesday.
The Island's Green party, led by Scottish-born dentist Peter Bevan-Baker, has recorded upward momentum in the polls for more than a year, suggesting the smallest province may be ready to elect Canada's first Green government.
"It has not been a particularly fascinating campaign, but I think it's going to be a fascinating election night," says Don Desserud, a political science professor at the University of Prince Edward Island.
"There's something going on here. You can't deny that after a whole year of solid numbers for the Green party that they've attracted attention and are being regarded with great favour."
READ MORE: Liberal premier calls Prince Edward Island election for April 23
A Narrative Research poll for the Charlottetown Guardian released this week suggests the Greens had maintained a lead, but it was within the margin of error and the Tories and Liberals were not far behind.
The close numbers also raised the spectre of a minority government, which would itself mark a historic moment for the Island: The last time a minority was elected in P.E.I. was 1890.
Islanders have been electing either Liberal or Conservative governments since Confederation. And a clear pattern has held since the mid-1960s, with majority governments being regularly replaced after serving three terms – though the Liberals eked out a fourth term in 1978, only to lose power a year later.
READ Vancouver police identify victim in Kits shooting, Reports
Premier Wade MacLauchlan's Liberals will be seeking a fourth term on April 23, which has prompted some critics to suggest the party has overstayed its welcome.
Though the province's economy is among the strongest in the country, voters have been reluctant to attribute any of that success to MacLauchlan.
Donald Savoie, the Canada research chair in public administration at the Universite de Moncton, says he's bewildered by the lack of credit given to the Liberals.
"It is difficult to imagine how the MacLauchlan government could have produced a better report card on the economy before going to the polls," Savoie wrote in a recent editorial, noting the numbers look great for wages, employment, immigration, housing starts, exports, retail sales and tourism.
"And yet public opinion surveys reveal that the MacLauchlan government is confronting a serious political challenge. This suggests that there are forces at play in the Maritime provinces that are playing havoc with the region's political landscape."
So what is it about the Greens that has moved the Island's traditionally small-c conservative voters to consider a more progressive party?
WATCH: Is the Green Party poised to break through on PEI?
Bevan-Baker says the shifting political sentiments on P.E.I. are a reflection of a broader movement away from traditional, mainstream politics. He's called it the local expression of a global phenomenon.
"People are looking for something that doesn't sound or smell or taste like a conventional politician," he said in an interview late last year.
Bevan-Baker became the first member of the Green party to win a seat in the P.E.I. legislature in 2015, having failed to win a single election after 10 attempts on the Island and in Ontario.
READ Scheer denies deleting tweets amid Trudeau libel lawsuit threat - National (News)
As party leader, he has spent the past three years carefully crafting the party's brand by consistently challenging the notion that the Greens are a single-issue entity devoted only to environmental activism.
During the election campaign, Bevan-Baker made a point of broadening the party's public appeal by focusing on social issues.
When the party released its entire $30-million platform at the beginning of the campaign, the largest chunk of that planned spending – $10-million – was earmarked for increasing social assistance rates. Increasing the inventory of affordable housing was also a top priority.
"They're really broadened out their platform to talk about socially progressive issues," says Desserud. "It's a rebranding of the party that has been extremely successful."
The party has been talking about environmental issues, "but they have not foregrounded them," the professor said.
And when it comes to climate change and carbon taxes, Bevan-Baker has been careful to link a healthy environment with a prosperous economy.
READ Investor claims Trump evaded taxes on Panama hotel property - National (News)
READ MORE: P.E.I. Green Party releases election platform focused on social issues
As for the Progressive Conservatives, the party may have deep roots on the island, but it has been plagued by infighting. In the past eight years, the party has had no fewer than six leaders, including Dennis King, who was elected in February.
The party enjoyed a boost in the polls in March, when it was in a virtual dead heat with the Liberals and this week's Narrative poll suggests they have continued momentum.
As for the Island's New Democrats, led by Joe Byrne, their poll numbers have remained at single digits for the past year.
On Tuesday, voters will also learn the results from a binding referendum on electoral reform, which will determine if Islanders want to keep the first-past-the-post system or change to a mixed-member-proportional-representation model.
In a 2016 plebiscite, 52 per cent voted in favour of switching to a mixed-member system, but MacLauchlan rejected the results, saying the 36 per cent turnout rate was too low.
Prime Minister Justin Trudeau promised to abolish the first-past-the-post system federally during the 2015 election, but he later abandoned that pledge, saying Canadians were not eager for change. Voters in British Columbia rejected making such a change in December 2017.
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All eyes on the surging Greens as Prince Edward Island goes to the polls
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redpajama_set_name: RedPajamaCommonCrawl


Supplying doorsets to the education sector that make the grade.
Leaderflush Shapland not only offers a range of high quality products, it understands the regulatory requirements and best practice guidance that applies to educational institutions and provides a flexible service designed to ensure the right doorsets are specified on each project.
Alongside the highest fire and acoustic standards Leaderflush Shapland's products address issues specific to educational environments, as detailed in the DfE's Standard Specifications, Layouts and Dimensions guidance relating to internal doorsets.
For example the document states: "Doorsets should be specified wherever possible, rather than specifying separate components such as leaves, frames and architraves," for certification and ease of installation purposes. Leaderflush Shapland's integrated doorset concept answers this need by providing a fully certified doorset that incorporates all the essential ironmongery and has guaranteed performance.
Dangers associated with automatically shutting fire-safety doors in areas populated by children can be mitigated by the company's Sentinel hand and finger protection system which has rounded profiles to prevent fingers becoming trapped. While Leaderflush Shapland's anti-microbial additive, Hygienilac, kills 99.9% of harmful bacteria and can be incorporated into door veneers in schools where it is important to contain the spread of infection.
In addition Envision, a translucent door facing material that can be specified on all Leaderflush Shapland performance doorsets, allows high definition, photographic images or graphics to be incorporated into a door, transforming it into an educational tool.
Leaderflush Shapland's broad range of innovative products ensures it is able to offer a variety of solutions to the education sector. Recently it has successfully manufactured and installed doorsets at the Colchester Academy, Bradford's Rainbow Free School and Smestow School in Wolverhampton.


text:
Back Office Solution | ProVenue
Digital Ticketing | MyProVenue
Access Control | Alfred
Sales Support | ProVenue Force
Email Marketing | CrowdConnect
Community Outreach | T.Cares
Registered Developer Program
Ticket Insurance | FanShield
T. News
T.Magazine | New Edition
US Blog | T.News
Global Blog | T.News
PVEX
PVEX 15
LinkedinFacebookTwitterInstagram
JOE CHOTI
Joe Choti, with over 20 years of industry experience, provides both strategic direction and executive leadership at the company with a vision to deliver value and experiences more quickly and reliably in the live entertainment space. Joe joined Tickets.com in October of 2010 as Chief Technology Officer. Prior to Tickets.com Joe held the Chief Technology Officer title for MLB Advanced Media (MLBAM). Joe joined MLBAM from Screaming Media, Inc. where he served as CTO. He has held the CTO title and senior project management positions for several major information service and development companies. Joe holds a bachelor's degree in Computer Science from Wesleyan University.
CHRISTINE HURLEY
Chief Financial Officer & EVP of Business Operations
Cristine Hurley joined Tickets.com in May 2013 as Chief Financial Officer & EVP of Business Operations and oversees all aspects of the Tickets.com financial strategy and management. Prior to Tickets.com, Cris was a Partner at Pro Forma Advisors, where she consulted on financial feasibility and economic impact studies relating to sports. Additional previous positions include the role of Vice President, Team Finance for the National Basketball Association and the Chief Financial Officer for the Los Angeles Dodgers Major League Baseball franchise. Cris is a Certified Public Accountant, has a bachelor's degree from Northeastern University and completed the Executive Program at UCLA's Anderson School of Management.
DEREK ARGOBRIGHT
Derek Argobright assumed the role of Chief Technology Officer in 2014 overseeing all product and infrastructure offerings with a particular focus on digital and mobile ticketing experiences. Derek previously served as Senior Vice President of Engineering for Tickets.com, overseeing all product development. Derek's prior responsibilities at Major League Baseball Advanced Media (MLBAM) focused on bolstering the statistics and reporting offerings as well as the launch of MiLB.com and the minor league club websites. Derek graduated from New York University.
CURT CLAUSEN
Curt Clausen joined Tickets.com in May 2014 as General Counsel. In this role, Curt is responsible for strategic and tactical legal initiatives and managing all corporate legal affairs. Prior to joining Tickets.com, Curt was an associate at the law firm of Skadden, Arps, Slate, Meagher & Flom LLP where he practiced in the firm's Antitrust Department. Curt received his law and undergraduate degrees from Duke University, holds an MPA from North Carolina State, and is a three-time Olympian.
TIM SNYDER
As Vice President of Business Development, Tim oversees Tickets.com's efforts in the areas of new business acquisition and client retention. He has over 30 years of ticketing and business development experience; including an extensive background in client services and ticket operations. Tim joined Tickets.com in July of 2010 as Vice President of Service Delivery.
Want to learn more about our products and services?
We want to work with you! We are dedicated to delivering the most advanced ticketing technology to give your organization complete control and more rewards!
Tickets.com is a leading provider of event ticketing solutions. Delivering the latest in ticketing technology, Tickets.com offers the advanced ProVenue® ticketing platform which enables clients to maximize their revenue. All Trademarks are property of their respective owners.
Tickets.com, LLC
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© 2020 Tickets.com - All Rights Reserved


With Upflow, all of your invoices are in the same place and their status is kept up-to-date in real-time. Need to find out who paid and how much? Forget opening your company bank account, Upflow handles the full cash collection cycle and notifies you of unpaid invoices.
With Upflow, create dunning plans tailored to your organisation and to your clients' needs. Each step of the sequence will be automatically reminded to the person in charge until payment is received. Once the payment comes through, Upflow immediately reconciles it with existing invoices and marks all upcoming reminders as complete.
Dunning is a team effort. With Upflow, you can assign specific steps of your dunning plan to different team members to synchronise your efforts and get paid faster. Get your whole organisation involved in making sure your clients are paying on time!


text:
De Allens mierpitta (Grallaria alleni) is een zangvogel uit de familie Grallariidae.

Verspreiding en leefgebied
Deze soort telt 2 ondersoorten:
 Grallaria alleni alleni: W-Colombia.
 Grallaria alleni andaquiensis: Z-Colombia en N-Ecuador.

Externe link
Avibase

Miervogels
Dier uit het Neotropisch gebied
IUCN-status kwetsbaar


text:
I Picos de Europa (letteralmente: Picchi d'Europa) sono una catena montuosa situata lungo la costa settentrionale della Spagna, tra le comunità autonome delle Asturie, Cantabria e Castiglia e León, e facente parte della Cordigliera Cantabrica, sebbene spesso siano considerati come entità a sé stanti, per la loro formazione più recente.

Descrizione
I Picos de Europa sono divisi in tre grandi massicci: il massiccio Centrale (o degli Urrieles), Orientale (o di Andara) e Occidentale (o Cornion). Questa formazione calcarea spicca per l'altezza delle sue cime, tra cui vi sono alcune delle più alte di Spagna, arrivando in alcuni casi al di sopra dei 2.500 metri. La formazione rocciosa si trova molto vicina alla costa, nel punto più settentrionale appena 15 km dal mare, ciò che fa sì che l'orografia sia molto accidentata e le pendenze di strade e sentieri siano a volte di notevole entità.

Le maggiori cime si trovano nel massiccio centrale, in cui quattordici montagne superano i 2.600 m di altezza, con il Torre Cerredo, di 2.648 metri, come tetto di queste montagne. Non si può parlare di questo massiccio senza menzionare il Picu Urriellu o Naranjo de Bulnes, indiscutibilmente re di queste montagne e culla dell'alpinismo spagnolo, la cui vetta fu conquistata per la prima volta nel 1905 da Pedro Pidal, Marchese di Villaviciosa, e dal suo compagno di cordata Gregorio Pérez Demaría, El Cainejo.

Nel massiccio occidentale o Cornion, chiamato così per la forma di corno che offre la sua silhouette vista da ovest, spicca la Peña Santa, che con i suoi 2.596 metri di altitudine supera di 110 la seguente cima, la Torre de Santa María o Torre Santa de Enol. È importante notare che questo massiccio dove si trovano anche i Laghi di Covadonga, così come anche il santuario che porta lo stesso nome, fecero parte dal 1918 del primo parco nazionale creato in Spagna.

Il massiccio orientale, anche chiamato di Andara, è il più modesto dei tre, tanto in altezza (il suo tetto, la Morra de Lechugales, arriva a 2.444 metri di altitudine) quanto in pendenza.

Il parco
Dal 1995, gran parte della regione costituisce il Parco nazionale dei Picos de Europa, che si estende nelle Comunità Autonome di Cantabria, Asturie e Castiglia e León; la parte asturiana è stata il primo parco nazionale di Spagna.

Altri progetti

Collegamenti esterni

Montagne della Spagna
Geografia delle Asturie
Geografia della Cantabria
geografia della Castiglia e León


I enjoy providing care throughout all of life's journey including newborns, adolescents, pregnant women and elderly. I have a special interest in working with minorities, including the LGBT population, to decrease health disparities. I am from Florida and went to the University of Florida for my bachelor's degree. I love working with families on prevention of disease. I am very close to my family and though they are far away, I am reminded of my biological family and their struggles everyday in my life helping patients. I enjoy working to help communities live healthier and the group model for patient visits.


I am just reminded of a small story, an episode from Mahabharata – where Krishna & Balarama are going to the forest & by then the sun had already set and it was dark.
It was the time when we did not have forest resorts for people to stay. So it seems Krishna came up with a proposal to Balarama, I will go to sleep & you keep watching me. Whenever you feel sleepy, you wake me up & I'll keep watching & you can go to sleep. Krishna went to sleep, Balarama who kept moving to and fro, encountered a monster in the forest,& the monster screamed at the Balarama. Balarama who was shaken up by the monster shrank in size and the monster became bigger than Balarama. The monster screamed one more time, Balarama shrank even further and the monster became even bigger. One last attempt, the Monster screamed at Balarama, unable to take the might of the monster Balarama screamed "Krishna" & he fainted. Hearing the call "Krishna", Krishna woke up.
The monster shrank even further. And Krishna expanded even more. One last attempt, Monster screamed at Krishna, and Krishna again asked the monster "what do you want?" And the monster shrunk in size.
The Epic goes, Krishna took the Monster and tied the knot at the end of his Dhoti and placed the Monster inside.
Immediately Balarama said but when I saw it, it was so big but now it has become so small.
And the Veda Vyasa through the voice of Krishna says – When you avoid what you must face in life, it becomes bigger than you and takes control over you. When you face what you must face, you become bigger than it and you take control over it.
The monster here is all the challenges we face in life. If you keep avoiding what you must face, these challenges become monstrous and take control over you. Instead of, face what you must face and you become larger than it and gain control over it.
Moral : Always remember, challenges are been given to you for a purpose - for you to become what you can become.


Earlier this month, Google employees staged a walkout protest at its office the globe to mark their discontent over the company's treatment of sexual harassment cases. And now, Googlers have raised their voice over the company's censored search engine in China.
More than 200 Google employees have joined a petition protesting against the plans of the tech giant to build a search engine that is tailored to meet the demands of China's censorship regime. In an open letter shared on Medium, Google employees extended their support to Amnesty International, which in its global petition has called on the Google chief executive officer Sundar Pichai to drop the censored search engine that is codenamed Project Dragonfly.
"We join with Amnesty International in demanding that Google cancel Dragonfly. We also demand that leadership commit to transparency, clear communication, and real accountability," the letter said.
The reports of Google working on a search engine tailored to meet the demands of the Chinese regime first surfaced in August this year. Reports suggested that the company's search engine would not only display a censored version of its content in the country but it would also link the searches to the users' phone numbers.
Early reports suggested that the search engine would be jointly operated with a company based in mainland China that would also have the ability to update the list of blacklisted words, which includes words like– student protest, Nobel Prize and human rights among other things.
The development had raised concerns among the human rights advocates who had argued that such a program would strengthen the scope of surveillance in the country. Despite the discontent, both internal and external, Google said that it would not cancel the project. "We wanted to learn what it would look like if Google were in China…I think it's important for us given how important the market is and how many users there are," Pichai had said in an interview last month.
Hey Buddy!, I found this information for you: "Google Employees Protest Over Its Censored Search In China". Here is the website link: https://smp-blogs.com/google-employees-protest-over-its-censored-search-in-china/. Thank you.


text:
"Choice of Colors" is a 1969 pop/soul song, written by Curtis Mayfield for The Impressions.  The song hit #1 on Billboard's R&B chart for one week, and went to #21 on the Billboard Hot 100.

Chart positions

References

1969 singles
The Impressions songs
1969 songs
Song recordings produced by Curtis Mayfield
Songs written by Curtis Mayfield


One Tower Bridge is a prestigious development offering a five-star living experience by the banks of the Thames. It offers uninterrupted views of one of the world's most iconic landmarks, unrivalled residents' facilities and the highest of specifications. In addition to the incredible apartments, a plethora of exciting new retail and commercial signings, including The Bridge Theatre and The Ivy Restaurant, will make One Tower Bridge the most sought after destinations in London.


Justin Timberlake fans, the wait is finally over. More than four years after the release of JT's album The 20/20 Experience – 2 of 2, the "Sexyback" singer has revealed that his next LP is on the way — and soon.
The 36-year-old unveiled a minute-long teaser trailer for the record on Twitter Tuesday morning (Jan. 2), which disclosed that Timberlake's fifth studio album, titled Man of the Woods, is set to arrive Feb. 2.
Man of the Woods' Feb. 2 release is perfectly timed for Timberlake's much-anticipated Super Bowl halftime show performance on Feb. 4. Whether he'll be performing songs from the album is still unclear, but JT fans will likely be finding out more in the coming weeks — starting Friday (Jan. 5), as hinted in the video's caption.
Watch Timberlake's album announcement below.


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This item is in the category "Sporting Goods\Golf\Golf Clubs & Equipment\Golf Clubs". The seller is "golf-unlimited" and is located in Kingsport, Tennessee. This item can be shipped to United States.


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text:
David Hockney's retrospective at the Tate
To our delight, the Tate Modern is showcasing almost 60 years of work by world-renowned artist David Hockney. Arguably, Hockney is one of the most popular and widely recognised artists of our time. After first coming to public attention in 1961 whilst studying at the Royal College of Art, he went on to produce some of the most well-known paintings of the 1960's. This is without a doubt Hockney's most extensive show to date, covering aspects of his life lived between London, Yorkshire and Los Angeles. It is also his first retrospective since 1988; ultimately, this exhibition is not one to be missed...
Hockney first found worldwide fame with his simple yet colourful canvases of sunny Californian scenes, which marked his journey towards naturalism. Swimming pools are themes that Hockney has returned to countless times. The 4th room (titled 'Sunbather') showcases this style of his work; his use of pleasing pastels and geometric blocks creates a scene you dream to be in.
"It has been a pleasure to revisit works I made decades ago, including some of my earliest paintings."
This extensive exhibition gathers together a wide selection of David Hockney's not so well-known student paintings to his most famous works, celebrating his achievements in painting, drawing, print, photography and video across a staggering six decades. The exhibit is arranged chronologically with a total of 12 rooms - each showcasing a different side to Hockney that the public may not be aware of. For example, the first room presents works from different periods which exemplify the ways in which Hockney has played with the conventions of picture-making.
Whatever subject Hockney's work deals with, it is always about making art. Some of Hockney's most recent portraiture has been created on his new tool - the iPad. He has embraced the modern medium of technology in recent years, creating videos and stills with it since 2008. Animations show how the images are composed, as if we're gaining privileged access to the master at work. We loved his Polaroid portraits and Yorkshire landscapes captured via the iPhone; below is an early example of Hockney's collaging of composite polaroids.
Hockney, 79, has said of the exhibition: "It has been a pleasure to revisit works I made decades ago, including some of my earliest paintings. Many of them seem like old friends to me now. We're looking back over a lifetime with the exhibition and I hope, like me, people will enjoy seeing how the roots of the new and recent work can be seen in developments over the years."
It has been said that this is the fastest selling exhibition in Tate's history, so be sure to grab a ticket now and immerse yourself in jaw-dropping art. Which era of Hockney's work is your favourite?
David Hockney at the Tate Britain
9 February – 29 May 2017
Tate Britain, Millbank
London, SW1P 4RG


Published on October 31, 2017 in Development/ITBNN by James B.
There's an almost indescribable satisfaction in transforming something old, a little beat up and a lot worn down into something that's almost better than new. Tommy Gardner has been doing that for more than thirty years at Auto Interiors & Tops, a business founded by his father in 1973 that reupholsters the interiors of cars, boats, and commercial properties.
Auto Interiors & Tops moved into its current space at 303 North West Street in 1977, when Gardner's father relocated the business from its original Martin Street location. Now, Gardner says, the area has changed: the explosive growth of Glenwood South and its accompanying apartments, retail, and restaurant development made him think he should find a more suitable spot for his business.
Gardner eventually acquired a brick building on South Wilmington Street that has been home to everything from a grocery store — one where Gardner said his father remembers shopping — to a restaurant, which Gardner himself had dined. Most recently it served as a place of worship for the Apostolic Assembly of the Faith in Christ Jesus Church until late last year.
We were able to take an inside look, thanks to the fact that our friends over at Rufty-Peedin Design Builders are serving as the general contractor for the extensive remodeling of this 59 year-old building.
Adam Zaytoun, a project developer at Rufty-Peedin, walked me through the surprisingly massive space, pointing out where the car bays would go, where the front office will be, what has to come down, what can be salvaged. Zaytoun provided such an extensive history that we wish we could hire him as a research assistant for the Development Beat.
Built in 1958 as a Colonial Stores Super Market, the building was a grocery store through the late 1970s.
Image courtesy State Archives of NC. Copyrighted by the News and Observer.
In the mid-80s it became Gardner's BBQ — an odd coincidence — after which it reverted back to "Fosdick's 1890 Seafood" until it was converted to a Christian Academy in the 90s.
Now, Rufty-Peedin is set to do for 2808 South Wilmington what Gardner has been doing for his customers all these years: restoring the interior to a customized, better-than-new condition. While permits for the project were issued last week, Gardner said the process has been going very smoothly so far.
Of course, this isn't Rufty-Peedin's first restoration of a historic Raleigh building: two years ago they turned the old Hillsborough Street Bookstore into a beautifully crafted restaurant.
"It's always a pleasure when you have an Owner like Tommy who appreciates the character and history of Raleigh's old buildings… we've uncovered the original terrazzo floors from the Colonial Grocery Store, which were hidden under several layers of carpet and vinyl flooring. Once resurfaced, they will be showcased in Tommy's new shop as an homage to the building's past," said Zaytoun.
For his part, Gardner couldn't be more excited about the move.
Gardner still owns the building at 303 North West, and is looking to rent it out to a business more suited to the area.
Although nothing will replace the iconic Mr. Peanut sign that once sat across South Wilmington we're glad to see that the area is being redeveloped by a historic Raleigh business and a local general contracting firm whose work we'd praise even if they weren't a sponsor.
In early Spring 2018, DECO Raleigh will move next door to a larger space, resulting in a single new storefront facing Salisbury Street that will house DECO and DECO Home. The larger space is located in the 208 Fayetteville Street building, which was recently purchased by MDO Holdings. DECO will be located at 207 S. Salisbury, occupying half of the street-level main floor.
DECO will celebrate their 5th anniversary November 1 – 5. After an anniversary clearance sale, DECO Home will close November 5, and that space will house a holiday Pop-Up Shop from online retailer Raleigh Vintage.
We previously reported that work had begun on Matt Kenner's newest venture, Southern Charred. With construction complete, Raleigh's newest barbecue joint celebrated its grand opening at 510 Glenwood this past week, offering diners everything from pulled pork, sliced brisket, and smoked devil's eggs to cocktails like the Front Porch Tea and a host of locally brewed beers.
Vintage thrift store Father and Son has found a new home, and they won't have to move very far. The store will move from its location on Hargett Street to 302 South West Street. The move is the result of finding out in December that their building was in the process of being sold.
Kane Realty announced plans for the newest North Hills restaurant, bartaco, "a hip eatery specializing in tacos and rice bowls." Specializing in what they describe as upscale street food, the taco chain already has two locations in the Old North State – Asheville & Chapel Hill – making the North Hills location next to Mura its first in Raleigh.
We previously reported that the nonprofit restaurant A Place at the Table had found a new home at 300 West Hargett Street in the space once occupied by Cafe de los Muertos.
The new location was officially announced a few weeks later, and will offer "fresh, healthy and affordable meals for diners of all backgrounds" between 7 a.m. and 2 p.m. Diners will be offered a wide range of payment options, including paying "what they can afford," regular price + a donation, and payment via volunteerism.
Maggie Kane, executive director of A Place at the Table, told us that the space will be "100% different." The $134,000 renovation of the 1,837 square-foot space will be handled by Riley-Lewis General Contractors.
Kane hopes that A Place at the Table will open by the end of November or in early December.
Tonbo Ramen, the noodle shop with an upstairs bar planned for South Wilmington Street that we first covered in late August, was approved with conditions by the Raleigh Historic Development Commission last week. The five conditions on the development include things like a requirement for clear glass to be used in the facade, and screening for the rooftop mechanical equipment.
"If we're the wizards of West Street," joked Michael Iovino, President of August Construction Solutions, "[Rainbow owner Chuck Bullock] is the mayor." ACS has previously transformed the former home of Peace Lighting and the warehouse at 907 N. West into stylish, modern office spaces. Soon, they'll begin work on the Rainbow Upholstery space at 911 N. West Street.
Although Rainbow, which aided the Raleigh community by offering skilled job training to recently-released female prisoners, will continue to serve as a home to "Upholsterers with the Golden Thread," it will be doing so from a smaller location.
Later this fall, ACS will begin rehabbing the interior of the existing two-story, 26,774 warehouse originally built in 1946. In addition to transforming existing storage and showroom space into offices, the street-level space will eventually be turned into spaces for locally-owned businesses and restaurants with outdoor seating.
"We'd love to see a coffee shop in there," Iovino said.
During a tour of the space in September Iovino detailed plans to open and brighten the space by removing most of the existing walls and expanding the windows down to floor level. While the building currently offers a view of a kudzu-encrusted patch of overgrown land, the City will eventually be turning the space into a new park, allowing for a much more pleasing aesthetic.


The move to Carnegie in 2003 gave me two local stations, because the house was almost equidistant between them. It was slightly closer to Murrumbeena, so I usually used that. But Carnegie had better access to shops, so that got used sometimes too.
I've mentioned Murrumbeena already. Carnegie hasn't changed much recently, but the surrounding area has, with the new library being built — and opening just after we'd moved away. D'oh. On the corner of Dandenong Road, a multi-level shopping centre rose from the (figurative) ashes of the old Betta Electrical/Billy Guyatts that was once there.
I still sometimes go back to Carnegie. There's a great pizza shop ("Herbs") on the corner of Neerim and Koornang Roads.
My final regular is Bentleigh.
Since I moved here, it's had upgrades to the level crossing (but not actual grade separation), and parts of the local Smartbus 703 route have been added into zone 1, which I think has added to the number of people using it. It'd be nice if this was all done in the name of removing zone anomalies, but in fact it appears the motivation was the Myki system, which needs stop zoning to be consistent between all the routes using an individual stop — so parts of the 703 had to be added to zone 1 to fit in with other routes around Brighton and East Bentleigh. No matter, at least it got done.
Shame the 703 still doesn't meet the Smartbus service standard.
In the station itself, which isn't exactly beautiful no matter how clean it is, there's an ongoing battle of wills between Metro and local vandals, with the gents' toilet door receiving many coats of paint in the past 12 months or so. Given the graffiti that decorates the ex-State Bank/Telstra store down the street, it's fair to say there's a local graffiti problem.
When I finally moved out of home, it was to Hawthorn. Initially I was still working in Burwood East, and the commute was an easy tram ride, from the flat we rented which was midway between there and the city — which became useful once work moved into town. Cutting through the back streets, it was about a 6-7 minute walk to the station (ditto at the other end to work in Collins Street).
If there was a big gap in the trains (as there often was just after 6pm when coming home) the 70 tram was almost as quick as the train.
The commute got a tad more complex when I changed jobs to St Kilda Road, and met the perils of the peak hour St Kilda Road tram crush — yes, even back then.
To the untrained eye, Hawthorn has changed very little since then. You see it in television adverts every now and again, and I'm not surprised to see it's heritage listed.
Moving into a flat in Booran Road, Glen Huntly, and living without a car meant it was a mix of tram and train travel. The usual work trip became either a tram ride on the 67 into St Kilda Road, or a train to South Yarra then a walk along Toorak Road (which was often faster than the cars) and across Fawkner Park, which was nice at least on a sunny day.
Later jobs changed that, and for a while I was catching the train to Richmond, changing onto a train to Box Hill, then a bus to Doncaster… which is what finally prompted the purchase of a car. After that was a job in Brighton, which sometimes involved driving, and other times involved a tram to Elsternwick then a train to North Brighton.
Most of my jobs since then have been in the CBD, so I've been a daily Frankston line commuter since about 2001.
Glenhuntly station (which unlike the official suburb name, does not have a space in it) hasn't changed much over that time (though I recall earlier visits in the 80s when it still had railway gates instead of booms, pre third track).
Initially there was a booking office lady who could sell tickets very fast when a train was approaching — but at times there was nobody present, and no way to buy a ticket. For a short time she wore a bright jacket and was showing people how to use Metcard, and then she was gone, leaving only the machines.
A coffee shop installed itself into the booking office at one stage, but then disappeared again. Nowadays there are station hosts present during morning peak only.
I've written before about how the services through the station changed very little in the time I used it, while the operators changed from The Met/PTC to Bayside Trains to M>Train to Connex, then to Metro. It's only in the past year or so that the timetables had a thorough re-write.
Even though I moved out of Glen Huntly in 2003, I continued to use the station until 2009, because the kids went to school nearby, and it was generally the easiest station to use as part of the school run. As a result, even though the car park is full by about 8am, I got to know the best all-day street parking spots nearby. It's not really that hard as long as you're prepared for a five minute walk.
We moved into a flat just across the street from the Dandenong line. The noise isn't noticeable after a week or two, apart from missing dialogue on the television when a freight train goes past.
It was a short stroll (if one took the short-cut along the train line) to Murrumbeena station. By year 11 I'd regularly meet school mates in the back of the 7:40am stopper from Oakleigh to South Yarra. When I moved to university (at Caulfield, then called Chisholm Institute of Technology, but soon to become Monash University's Caulfield Campus) it was a quick two-station trip.
The station has barely changed at all. The staff member who used to be behind glass in the booking office is now out on the platform, but outside morning peak hours there's nobody there at all.
We moved to Hampton, but it was actually slightly closer to Moorabbin station, which I used for getting to/from the city, and to university at Caulfield. I think I timed the walk to the station at 12 minutes if going at speed, and looking for a gap in the traffic on the Nepean Highway, rather than having to wait for the lights. Not sure that'd be a good idea these days; I'm sure the traffic is heavier.
At times one could catch an express train from Moorabbin to Caulfield or vice versa. A good quick trip, but it seemed slightly unjust to be paying a two-zone fare for the privilege.
Moorabbin station hasn't changed much over the years — it's still ugly — though after I moved away, the station building burnt down and was replaced by something that to my mind is about the same — at least, it's the same shape, perhaps it's a different version of dull civic building style/colour. Curiously, the Metcard validators are at the top of the ramps, but the Myki readers are at the bottom.
Hampton station was my other regular, because I'd had the job in Elsternwick at Hattams for some years, and would catch the bus to Hampton then the train to Elsternwick to work there — on Saturday mornings, on Fridays once I started university (where generally it was possible to organise your timetable to have a 4-day week) and also during the holidays.
By 1993 I was in the workforce, and for a while was working in Burwood East/Box Hill South, and the commute was a bit of a killer, involving a walk to Moorabbin, a train to Richmond, then either a train to Box Hill and a bus to work, or a train to Burwood and a tram to work. I did get a fair bit of reading done though, and on the way home often had my mate Brian's company, as he worked at the same place.
When I was a baby, my parents moved into a flat in Fitzroy Street. That part of St Kilda might be hipster grungy now, but I suspect it was a bit of a dive back then. I was too young to remember it, and I don't think we stayed there very long — but I do remember that later on we were still friends with Mrs Rice, who with her family lived in an enormous house in one of the side streets. Must be worth an absolute bomb now.
My parents moved to a house in Napier Place, South Melbourne for a while, and its there I have my first memories (such as someone's dog stealing a piece of meat I'd been given as a snack). This old photo was taken at Albert Park, I think.
My mum still goes to a dentist nearby. In later years I remember her telling me that in South Melbourne in the early 70s, renovators were going through ripping out all the "ugly" lace ironwork in the Victorian terrace houses. By the 80s they'd realised it was a mistake, and were putting it all back in again, often having to resort to reproductions because the originals were long gone.
As with St Kilda, the station is now a lightrail stop, and the building is used by a local business. The level crossing still exists, with approaching trams given a green light (sometimes a little too slowly, it seems, forcing them to drop speed slightly to cross the road).
For a while my parents moved across town. I suppose had they stayed there, I'd be a north-of-the-river boy, but as it turns out it was only a brief migration.
We rented a house in Hutton Street, Thornbury, very conveniently located to the station. I seem to recall the house had a huge, jungle-like back yard, and I remember my mum using wringer (mangle) to dry the clothes after washing.
It was at this house that, I am told, I instructed my sister to jump out the window (and she did), I dropped an egg and was told to say sorry (so I did, proclaiming: "Sorry, egg.") and also that my sister dropped a biscuit down the drain and tried to reach down after it, becoming stuck.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace _08.Traveling_At_Light_Speed
{
    class TravelingAtLightSpeed
    {
        static void Main(string[] args)
        {
            decimal ly = decimal.Parse(Console.ReadLine());

            decimal seconds = Math.Floor((9450000000000m * ly) / 300000m);

            decimal minutes = Math.Floor(seconds / 60);
            decimal hours = Math.Floor(minutes / 60);
            decimal days = Math.Floor(hours / 24);
            decimal weeks = Math.Floor(hours / 168);

            Console.WriteLine("{0:0} weeks", weeks);
            Console.WriteLine("{0:0} days", days % 7);
            Console.WriteLine("{0:0} hours", hours % 24);
            Console.WriteLine("{0:0} minutes", minutes % 60);
            Console.WriteLine("{0:0} seconds", seconds % 60);
        }
    }
}


As part of Denmark's and Lithuania's celebration of Lithuania's 100th anniversary of restored independence, the Lithuanian Film Center, The Danish Embassy in Lithuania and The Danish Cultural Institute in Estonia, Latvia and Lithuania initiate the educational film program Film LT100 for Lithuanian school children.
Film LT100 is a simple format allowing children in the age group 7-16 years to produce their own films using tablet computers and other modern, easy-to-operate technology.
The initial workshop of Film LT100 will take place on September 20-21 at The Atomic Garden in Vilnius. Here, Lithuanian teachers and educators will learn about specific methods from Danish film and creative education expert Kasper B. Olesen, founder of the company "Lommefilm" (meaning "Pocket Film"). As a contribution to this workshop, Danish film and education expert Ditte Mejlhede will give a presentation of her experience with implementing film and media literacy projects in Danish schools. She has previously been a part of The Danish Film Institute, but now she uses her knowledge working as a freelancer.
Film LT100 will be officially launched in October, when the first Lithuanian school children from around Lithuania will get the chance to try out the methods and produce their very own short films.
In the format of Film LT100, children work together in all phases of film production – from script writing, directing, shooting, acting and editing. All of this can be done in one workshop of 2-4 hours, activating all children of a school class and strengthening cooperation and communication skills. The children's own imagination is an essential element of Film LT100, and the range of themes is unlimited – from small fictional stories to films on historical events.
Through Film LT100, children will not only make their own productions but also learn to reflect on the film media in general. In our modern digitalized world of constant audiovisual stimulation and information flow, it is vital that children learn critical thinking at an early age by becoming familiar with the mechanisms of different media. This way, a central aim of Film LT100 is to increase the level of media literacy among children.
The format of Film LT100 is based on methods developed by the Danish Film Institute and their permanent film studio for children in Copenhagen.
During 2018 and 2019, Film LT100 will be implemented at schools in Vilnius, Kaunas and several towns in the regions of Lithuania.
The Danish celebration of Lithuania's centenary of restored independence is coordinated by the Danish Cultural Institute in Estonia, Latvia and Lithuania together with the Embassy of Denmark in Lithuania and the Danish Ministry of Culture. Several Danish events are taking place in Lithuania during 2018, ranging from film and music to urban planning, education and museum collaboration.


text:
Q: How to let app to close its GUI and work in background in android I need to know if there is any way to let my application close its GUI once I clicked a specific button and complete its work in the background...
If I opened the application again I need it to resume its work which was in the background and I need to resume the same status of the button as in the background.
I need to perform this task programaticaly.

A: The best approach to do so on android is to create a service. Services are intended to work on the background without having a gui shown. You can easily communicate with the service and share data between your application and service at anytime. Even if you reloaded your app

A: Use Services to do the work in background. And to remove the UI and not actually close the app (kill the process) you need the following code to execute on the button.This code will bring up the Home screen and will let android  decide that if app has spent to much time in background and finally android may close it but the work you already defined in service remains running untill it finishes.
Intent intent = new Intent(Intent.ACTION_MAIN);
intent.addCategory(Intent.CATEGORY_HOME);
intent.setFlags(Intent.FLAG_ACTIVITY_NEW_TASK);
startActivity(intent);

Keep Rockin :D

redpajama_set_name: RedPajamaStackExchange


text:
Q: How can I create session in my chrome extension using javascript? I am new in developing chrome extensions and need little bit guidance for it.
I have to maintain session inside my extension for login, after login have to preserve key & use it for further processing. its good if someone share useful links for basic understanding of session creation using javascript.

A: did you mean session storage look here
sessionStorage object will be deleted when the browser window is closed - but will survive any page refreshes. It is an ideal place for storing session ids and alike.


text:
Home / GALAXY Tab 3 10.1-inch / GALAXY Tab 3 8-inch / Glaxy Tab 3 Series / release date / Samsung / specs / Technology / Samsung Galaxy Tab 3 specs, price, release date Philippines
Samsung Galaxy Tab 3 specs, price, release date Philippines
Admin Monday, June 03, 2013
Samsung Electronics on Monday announces the introduction of GALAXY Tab 3 8-inch and 10.1-inch in addition to the previously unveiled 7-inch version. The latest gadgets from Korean company will be released globally including the Philippines this June 2013. Full specifications are available on this page.
The new GALAXY Tab 3 8-inch
This device is designed to be held in one hand for exceptional reading and entertainment experience. Samsung's Sound Alive for Audio and Dolby Surround for Video Play maximize every sound allow users to enjoy clearer dialogue, consistent volume levels, and superior audio to further enhance the overall multimedia experience with the new device.
It features S Translator, which provides instant translation through voice recognition and via text on applications including email, text message, and ChatON.
Samsung Galaxy Tab 3 8-inch is powered by 1.5GHz dual core processor, 1280x800-pixel HD screen and runs on Android 4.2 OS platform. It has 5-megapixel rear and 1.3 megapixel front camera.
Same with the new and high-end devices, it has LTE-support on six (6) bands.
The 8-inch model can be purchased in either a 16GB or 32GB version, and can support a MicroSD card of up to 64GB, with 1.5GB RAM.
The new GALAXY Tab 3 10.1-inch
The GALAXY Tab 3 10.1-inch seamlessly combines sleek design and enhanced multimedia capabilities for home and family use. It contains a 1.6GHz dual-core processor which has been provided by Intel. This tablet also comes equipped with a 1280x800-pixel HD screen and front and rear cameras at 1.3 megapixels and 3 megapixels, respectively.
It also has LTE support of different bands- 800/850/900/1800/2100 and 2600.
The 10.1-inch model, same with 8-inch tablet has the same storage options, as well as 1GB RAM.
July 28, 2013 Update: Samsung Mobile released detailed pricing for both GALAXY Tab 3 8-inch and GALAXY Tab 3 10.1-inch tablets in a Consumer Launch on July 27 at Samsung Galaxy Studio, SM Mall of Asia Atrium G/F.
Galaxy Tab 3 10.1 WIFI (GT-P5210) has an SRP of Php 16,990 while Galaxy Tab 3 8-in 3G (SM-T3110) is priced at Php 18,990 (SRP).
Follow Us on Twitter or Like Us on Facebook to receive fresh contents online from the popular mobile phone manufacturer, Samsung Electronics.
GALAXY Tab 3 10.1-inch, GALAXY Tab 3 8-inch, Glaxy Tab 3 Series, release date, Samsung, specs, Technology


text:
Q: Add minutes to a time (hh:mm) in excel vba I am making a production schedule, and would like to add ex. 78 minutes to a time ex. 7:05 (am) in VBA. How would I go about doing this? This is what I have tried so far, but I'm getting an error 13 type:mismatch
Dim TUntilPump As Integer
Dim TFPump As Long, TStartPump As Long

TUP = 78
TFP = Time(0, TUP, 0)
TSP = Time(7,05,0) + TFP

I'm thinking it has something to do with my variable dimensions or the format of my times, but I have no idea what I'm doing wrong. Any help is appreciated, and thanks in advance!

A: Times should be considered double type vars for this. Time is a decimal portion of a day (1). 0.5 is noon and 0.666666 is 04:00 pm. I've found that the TimeSerial function is good for constructing dates.
dim TFP as double, TSP as double, TUP as integer

TUP = 78
TFP = TimeSerial(0, TUP, 0)
TSP = TimeSerial(7, 5, 0) + TFP
'alternate
TSP = TimeSerial(7, 5 + TUP, 0)

A: use the DATEADD function:
TRP = dateadd("n",78,"7:05:00")

the "n" means minutes.


The Squier dimension V now comes in a brand new look & design offering players added comfort and playability. Features include an offset..
The Squier dimension V now comes in a brand new look & design offering players added comfort and playability. Features include an offset body, humbucking design and rock solid stability. We fully recommend that you try the dimension basses in your nearest PMT store and experience for yourself why the Fender squire bass guitars are so popular.


An excellent portrait of the late comic superstar Gilda Radner, Love, Gilda is a documentary that strikes just the right balance between being funny and moving.
The film takes us through the entirety of her career, from her early start in the star-studded Toronto production of Godspell, to her big break on Saturday Night Live, the failed relationships that she had with many of her co-stars, and finally her marriage to Gene Wilder.
The footage that we see of her material is still just as hilarious all these years later, but the film also doesn't shy away from exploring the darker elements of her life, including her struggles with eating disorders and finally ovarian cancer.
The most interesting thing about Love, Gilda is that most of the film unfolds through her own words, with old audio recordings serving as narration and passages from her diaries being read aloud by several modern Saturday Night Live stars who were heavily inspired by her work, including Amy Poehler, Bill Hader, Maya Rudolph and Melissa McCarthy.
The result is a wonderful and ultimately heartbreaking portrait of a brilliant comic whose life and career ended far too soon, and the fact that it features appearances from some of my favourite funny people is an added bonus.
Love, Gilda is now playing in limited release at the Hot Docs Ted Rogers Cinema in Toronto, tickets and showtimes can be found right here.
A version of this review was originally published during the 2018 Hot Docs Film Festival.


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DVD Review: Human Planet
Jason Dorough
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BBC previously has taken its viewers to the extreme ends of the Earth to show us rare glimpses of our planet and the animals that inhabit it. This time their lenses focus on a more familiar and yet far more alien subject with Human Planet.
Geek Music: 20 Geeky Cover Songs
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I've been a fan of the podcast Coverville (as well as a Coverville citizen) for a long time and have been compiling lists of geek music related covers. First up is a list of covers of songs that were originally performed by geeky artists. I've also
Fan Art Friday: The Hunger Games
It's been a while since a young adult book series has been both wildly popular and exceptionally well written. The Hunger Games fills both of those requirements and is well on its way to becoming a major motion picture series. This week's Fan Art Friday
Soundtrack Review: Piano Music from the Movies, Vol. 1
Ann Wells
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This is not your run-of-the-mill movie music compilation album. If, however, you want a different take on movie music and would like to hear some of your favorite composers in a whole new light or if you are a fan of easy-listening piano, then it is an
Contest Reminder: Win a Game of Thrones Targaryen T-Shirt!
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Our fourth Game of Thrones contest will be ending soon, so don't miss your chance to enter to win a Targaryen T-shirt!
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Bicycle Accidents Archives - Law Offices of David M. Benenfeld P.A.
What if I was partially at fault for the bicycle accident?
You can still obtain compensation for your injuries, minus the percentage of fault. For example, if you are awarded $100,000 for your injuries but were 20 percent at fault for the bike accident, you would receive $80,000.
What if a member of my family was killed on a bicycle?
Who can I obtain damages from after a bicycle accident?
Do I have a lawsuit against a driver who hit me while I was riding my bicycle at night, even though I didn't have reflective clothing or a headlamp on?
Since Florida Ranks High For Bicycle Fatalities, What Can Be Done To Minimize Fatal Bicycle Accidents?
While Riding My Bicycle On A Major Street I Was Run Off The Road By A Dangerous Driver. I Suffered Major Injuries That Required Surgery. Is This Considered A Hit And Run Accident? What Are My Rights?