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Culture Currents (Vernaculars Speak)
Exploring Our Common and Uncommon Culture — with Kevernacular
Tag Archives: "Let Me Get By
Tedeschi Trucks articulates their full voice and vision on "Let Me Get By"
Posted on April 15, 2016 by Kevin Lynch
Susan Tedeschi's soul-stirring voice soars and dips more majestically than ever, on an eagle's wing. Listen to "Anyhow." It's a broken heart with tenacious muscles. Time after time, Derek Trucks' slide guitar solos, searing and catchy, nail a song's heart. Kofi Burbridge's sinuously gleaming flute emerges periodically like a spectral angel. The band's a glorious monster, like we've never quite experienced before. Yet there's more, much more.
We've watched The Tedeschi Trucks Band grow before our eyes into the 12-musician offspring of the most blessed musical couple in American music. I'm hardly alone in thinking they're the best performing band we have today. It's also amazing how they become so great so fast, even while still coalescing. Their collective and individual talents have slashed through and absorbed thickets of influences, up the mountain to the roots-rock summit. Then, they reach out to pull you up with them. Their path betrays the sheer toil of inspired dedication, performing on the road for more than 200 days for the fifth straight year in 2015 — and they're currently on another summer-long tour.
On Let Me Get By, their third studio recording, they articulate overarching purpose and meaning more clearly than ever. That statement is quite evident on the basic album, as it should be. But it becomes more fully realized in the album's two-disc deluxe edition, which includes eight bonus tracks, three of them live concert performances, and a David Bowie cover. I'll address the bonus material in a second post, to try getting a handle on a great collective group finding its fullest self. Remember, TTB's reputation remains foremost as a live band, despite their Grammy for their 2011 debut studio album Revelator.
Cover of the two CD deluxe box of "Let Me Get By." amazon.com
The new album title and cover say something like "unchain your heart!" A Mongolian golden eagle has broken free from its master's glove, and seems bound for new heights — bound for glory, as the band put it, on a great song from Revelator.
"'Let Me Get By' actually refers to a lot of things," says Trucks in their website profile, "like the band becoming more self-reliant than ever before—writing our own songs and producing our own music in our own studio. It's about moving on to a new recording label (Fantasy/Concord) with a deal that gives us more freedom.
"It definitely took time for us to get here. I think the connections we have in this band and among the crew and extended family are the real reason why."
His spouse and band co-leader, singer/guitarist Susan Tedeschi comments, "Derek hears everything from a big picture stance. Not just track-by-track but the album as a whole."
Adds Trucks: It's a bunch of different true stories meshed into one."
So much feel-good P.R. talk? Listen closely, after you've felt the music, and judge for yourself. The road-tested communal feeling Trucks speaks of feeds into the band's ethical worldview, which seems more clearly crystallized on Let Me Get By. Lyricist and background singer Mike Mattison's emergence speaks plenty about the band's step forward. He gets his first two lead-vocal spotlights on a TTB album (on "Crying Over You" and "Right On Time"), and his increasing mastery as a lyricist and songwriter is more central than ever to the band's vision. Despite their prodigious musicianship and Trucks "guitar hero" status, they funnel those powers into the songs, and a sense that the collective sound fuels human aspirations.
Even vocalist Tedeschi, like her spouse, seems lacking in typical leader ego. She started a kind of joke about her joy and gratitude, Trucks says. "After shows, she started to say to everyone, 'Thanks for letting me be in your band' and we'd all laugh. Now we all say it."
Joy and gratitude ooze from Let Me Get By, amid more complex emotions, and as qualities that might help heal and make a difference in a deeply injured earth and troubled society.
Derek Trucks and Susan Tedeschi at Red Rocks Amphitheater in 2015. Courtesy iwebradio.fm/Kell Yeah Photography
Hear the clarion call of Tedeschi bracing opening note of "Anyhow" signaling the "wreckage in my soul": Running from a bitter taste/took a rest from all the chase/feeling something anchored in my soul./ played the game by all the/learning lessons no one gets to choose. The song continues about a personal relationship, but that first verse can speak to anyone in the economic 99% feeling betrayed by the game and its rules — the rigged system — whether you lean left or right. The song goes on to speak of cold-hearted desperation among the unemployed and even working poor, and invokes Biblical myth: "Cain and Abel lit the flame/we can never go that way again." This clearly references brother-on-brother crime, whether it is inner-city shootings, police brutality/homicide, or white-collar financial betrayal.
Yet "Anyhow" is an absolute soul-stirrer — not a downer. And TTB doesn't preach, they understand the philosophic pause and the medicine of laughter, in the ensuing "Laugh About It." This band's ethically-driven sort of communal political synergy resonates from the rapturous gospel choruses right into the groundswell roar of the Bernie Sanders political movement, a sense of empowerment and transformation.
Here is The Tedeschi Trucks Band in a NPR Tiny Desk Concert, performing "Just as Strange," "Don't Know What it Means," and "Anyhow" from the album "Let Me Get By":
http://www.npr.org/2016/03/24/471725403/tedeschi-trucks-band-tiny-desk-concert
The instrumental break in "Laugh About It" shows how tight and rich their grooves and arrangements have become, with Truck's guitar quick-stepping through horn and rhythm counter-punches. You can dance along to it or your music head can marvel. And Susan does laugh about it at the end.
"Don't Know What It Means" shows this band reaching new heights in its pop appeal, in the power of call-and-response. The refrain glows with as much warm infectiousness as a vintage Sly and the Family Stone song, another collective-oriented stylistic precursor. That refrain melody descends like the slowing last yards of an exhilarating roller coaster ride, and the rhythmic hand-clapping helps turn that dynamic into a Juneteenth Day gospel-infused parade.
The lyric continues the previous song's laugh-it-off wound-licking: If the story feels exactly like a dream/ don't know what it means… And you can't just turn the page and let it go/ things that you've been told/ deep down in your soul."
Rather, it's time to strategize: "Don't make your move too early" or you may "surely lose your way." And the shyster or con man may be poised to snooker the unwittingly earnest. Yet TTB believes self-empowerment perseveres: Now don't look down in the dirt/ just to find out what you're worth… To work hard and do it right/ learn to speak up and fight/ the truth is gonna beat them down the line."
If that sounds preachy to some, it's hardly fire-and-brimstone browbeating. Rather, it the sort of uplift that even the ostensibly angry American black writer James Baldwin articulated in the voice of his preacher father-figure in his transformative 1962 novel Another Country. The black minister's own son had committed suicide, yet the father counselled his congregation, all grieving his own son's death: "Don't lose heart, dear ones, don't let it make you bitter, try to understand. The world's already bitter enough. We got to try to be better than the world '…Except for someone — a man weeping in the front row — there was silence all over the chapel…" 1
You find no comparable moments of low-key compassion on this recording, as this band has achieved on their brilliant story-song "Midnight in Harlem." But the new "bunch of different true stories" now mesh into a bramble-strewn path rising toward sunlight.
"Learn to speak up and fight" can mean collective song as much as righteous chants. A group of remarkably persevering protest singers in Madison, WI have assembled every noon each weekday at The Capitol building for five years — over 1,300 consecutive weekdays — to sing. The Solidarity Sing Along sustains the spirit of the original massive protests of Gov. Scott Walker's collective bargaining-busting, anti-education Act 10 "repair bill" — which has helped decimate and polarize my home state. The Sing Along's 60-plus song repertoire ranges from Woody Guthrie's "This Land is Your Land" to adapted country blues classics and a Ramones song, to originals by participants. The Act 10 bill and its 100,000 protesters helped inspire Occupy Wall Street and now the Bernie Sanders "revolution." 2
TTB's solidarity stresses human commonality, via a collective gathering of cultural tribes, from Tedeschi's ex-gospel choir singer-cum-blues mama roots to Trucks' voraciously wide-ranging "big picture stance." Trucks rose from country-blues bottleneck guitar to Allman Brothers' band trademarks – gutsy singing, swampy blues, pealing guitar riffs for modal flights. And his Coltrane/Shankar micro-tonalities help summon this band's patented "swamp ragas." That simmering instrumental vocabulary facilitates exquisitely meditative introductions or segues, which help embrace a more worldly cultural vision.
Flutist-keyboardist Kofi Burbridge highlights "Swamp Raga for Holzapfel, Flute and Harmonium" on "Let Me Get By." Courtesy Wikipedia.com
And all the band members seem attuned to the wellsprings of the blues, '60s-'70s gospel and R& B, free and funk-jazz, and modern pop-rock, epitomized, of course, by the Beatles.
Which leads me to album's next song, the slightly tipsy rollick of "Right on Time," Mattison's vocal seems to channel John Lennon's gentle side, "What is it that you lack? What is it that you seek?" Then, the gently bouncing harmonized refrain: "Does a smile come alive when you share the wine..?" and a "Hey!" refrain, with woozy dance-hall horns. The whole effect, the George Martin-esque arrangement, could've fit right into Magical Mystery Tour or even The White Album. Heresy? So sue me.
Lyricist and backup singer Mike Mattison of Tedeschi Trucks Band gets two lead vocal spotlights on "Let Me Get By." Courtesy pghintune.wordpress.com
For blues-rock buffs who fear they're getting too cute, the title song is another full-throated empowerment barn burner. "Let me get by/cuz time won't wait!" And then, they pause again, for a reality check. "Just as Strange," co-written by Doyle Bramhall II, is a stripped-down Robert Johnson-like wail about abject craving for sex or drugs, as pure bedevilment.
Mattison's fervent lead vocal on "Crying Over You" with the deliciously cheesy line "I caught you snooping 'round swimming pool" segues to a lovely, haunting swamp-raga. The album's last few songs tread in lost-romance/relationship territory, but very convincingly.
However, the final song (of the non-deluxe album), "In Every Heart," resounds like a thematic recapitulation, blending reality and inspiration. Mellifluous horn harmonies, the ever-ready background singers, and an easy, reflective groove cue Tedeschi's voice, honoring a warm primary influence, Bonnie Raitt. Yet "Heart" is TTB's own statement: "In every heart there's a name/under the perfume and the blame." It's about coming to terms with your true identity and your "story," admittedly no easy task. "In every heart, there's a song/ turning the pages… In every song, there's a psalm/ coming to find you to sing along."
With a surrogate family like the Tedeschi Trucks gang, one need not be alone. They deliver the power of the song. Perhaps some existentialists will call that mere sop. Me, I'd rather not stand in the rain of my spiritual solitude.
PART 2. I'll consider the deluxe bonus disc of Let Me Get By and that 2-disc total package in another post, coming shortly.
James Baldwin, Another Country, Vintage International, 1993, 121
2. Scott Walker, who survived a re-call election driven by the Act 10 protests, later declared, "If I can take on 100,000 protesters, I can do the same across the world," in reference to defeating the terrorist group ISIS. The spurious analogy may have marked the beginning of the end of Walker's short-lived presidential nomination bid. Meanwhile, he's back in Wisconsin working his same far-right agenda and the singers continue, as they say, "until Wisconsin gets better," as one of their mottos declares.The Solidarity Sing Along is open to anyone each weekday starting at noon at the Capitol. Their Facebook page: https://www.facebook.com/SolidaritySingAlong. At times, noted musicians have joined the participants, including Woody Guthrie's famous son Arlo and Billy Bragg, who wrote music for and recorded unpublished Woody Guthrie lyrics in his Mermaid Avenue project with Wilco.
For the full story on the Wisconsin protests, see John Nichols' book Uprising: How Wisconsin Renewed the Politics of Protest, from Madison to Wall Street.
"Let Me Get By" album cover at top, courtesy zumic.com
Posted in Culture Currents (Vernaculars Speak)	| Tagged " Susan Tedeschi, "Let Me Get By, Derek Trucks, James Baldwin, Mike Mattison, Sly and the Family Stone, Solidarity Sing Along, Tedeschi Trucks Band, The Beatles	| Leave a reply
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keve2109
Kevernacular (Kevin Lynch) is a veteran, award-winning arts journalist, educator and visual artist. He is the author of "Voices in the River: The Jazz Message to Democracy." He won The Milwaukee Press Club's 2017 gold award for "Best Critical Review of the Arts" for the Culture Currents blog "Adolph Rosenblatt: A Great Eye, Gifted Hands, and a Huge Heart," an art retrospective exhibit at the Jewish Museum Milwaukee. He also won the gold award for the 2013 Culture Currents review, "Edward Curtis Preserved America's Vanishing Race for Posterity." Lynch was a long-time staff arts writer for The Capital Times in Madison and The Milwaukee Journal, where he was lead writer of a Pulitzer-nominated Newspapers in Education project called "That's Jazz," which was used in Milwaukee Public Schools and The Milwaukee Jazz Experience. Among other publications, he's written for Down Beat, No Depression Quarterly of Roots Music, and NoDepression.com, The Village Voice, The Chicago Tribune, New Art Examiner, Rain Taxi, American Record Guide, CODA (The Canadian jazz magazine), Wisconsin Natural Resources Magazine, Graven Images: A Journal of Culture, Law and the Sacred; The Shepherd Express, OnMilwaukee.com. Lynch has taught cultural journalism, English rhetoric and composition (while earning half of the credits for a PhD. in American Literature), and film studies. He's been a music program host for WLUM-FM and WMSE-FM in Milwaukee. Lynch is working on a novel, "Melville's Trace or, The Jackal." He's also a visual artist and studied jazz piano and theory at the Wisconsin Conservatory of Music. He lives in Milwaukee.
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in From the Crazy Vault
The Traffic Light Bandit
Tagged 1920s, cars
January 5, 1926. Washington, D.C. "Traffic Director Eldridge inspecting new lights." National Photo Company Collection glass negative.
This might make you think twice about stopping at a red light … well, maybe not. Nevertheless, it's an amusing read on the terrors of driving in 1927.
The article below is from the Washington Post on March 15th of that year.
The spectacular career of the "traffic light robber," which began a week ago, came to an abrupt end yesterday. Today James Steele, colored, 24 years old, of Cambellton, Fla., who admitted to police he was the robber, is behind bars at the First precinct station awaiting court action on four charges of robbery.
Credit for capture of the highwayman is due to Jack Wolfe, police headquarters chauffeur, and Detective Henry M. Jett, of the headquarters automobile squadron. they were driving on Massachusetts avenue near Seventeenth street northwest, in a police car, when Wolfe espied a man who answered the description of the robber.
"That guy looks good," he remarked to Jett as the car was brought to a halt. Both alighted and approached the man. As they did so, police say, the man drew a hand from his coat pocket and threw an open knife to the street. The other hand he thrust deep into his pocket as if he held a gun. He warned the policemen:
"You'd better keep away from ."
With drawn revolver, Wolfe rushed at the negro, and he and Jett overpowered him. Returning to headquarters the suspect admitted he was the man they sought. A broken piece of automobile spring and pocket knife were the weapons the negro used in the robberies, he told police. Detective Jett returned to work Sunday after a three-week illness.
Steels' robbery idea–that of leaping into an automobile awaiting a green signal light–came to him one day as he walked on Massachusetts avenue, he said. He had no fixed residence and came here a few weeks ago from Florida.
A week ago, he told police, he decided to put his idea into operation. At Thirteenth and Massachusetts avenue, he claimed Chester M. Wright, English language secretary of the Pan-American Federation of Labor, as his first victim. While Mr. Wright was awaiting the green signal light, Steel said he stepped into the automobile and, holding the spring in his pocket to resemble a revolver, forced the autoist to drive to seventh street and Florida avenue northwest, where he was robbed.
The operation was so successful that two days later, the "traffic light robber" repeated the method on David Luttrell, 3018 Porter street northwest, getting into his car at Eighteenth street and New Hampshire avenue, and forcing him to drive to Seventh and T streets.
The third victim, Thomas Shanley, 3808 T street northwest, was accosted at the scene of the robber's capture Saturday night and the same tactics were pursued. Twelve hours later, Capt. William R. White, U. S. A., of the Carlo hotel, drove to Seventeenth street and Massachusetts avenue, and he, too, was victimized. Capt. White attempted to repulse the negro, and the robber slashed his wrists.
From his four victims, Steele obtained only $24.59 in cash and jewelry. Shanley contributed 50 cents to the robber's treasury.
Sounds like the birth of carjacking.
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redpajama_set_name: RedPajamaCommonCrawl


"I am honored to announce U.S. Senator Tom Cotton will be a special guest at two fundraising events for my campaign in District 27.
The first event will be Friday, February 19th from 4:00 P.M. until 5:00 P.M. at the White House Café located at 323 S Adams Ave, Camden, Arkansas 71701. There will be appetizers and beverages.


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Indian Industrial and Labour Laws and HR Concepts
Essential For Every HR Professional
CHAPTER-II – WORKMEN'S COMPENSATION (THE EMPLOYEE'S COMPEN.ACT,1923)-3
11. Medical examination.- (1) Where a *[employee] has given notice of an accident, he shall, if the employer, before the expiry of three days from the time at which service of the notice has been effected offers to have him examined free of charge by a qualified medical practitioner, submit himself for such examination, and any *[employees] who is in receipt of a half-monthly payment under this Act shall, if so required, submit himself for such examination from time to time:
Provided that a *[employee] shall not be required to submit himself for examination by a medical practitioner otherwise than in accordance with rules made under this Act, or at more frequent intervals than may be prescribed.
(2) If a *[employee], on being required to do so by the employer under subsection (1) or by the Commissioner at any time, refuses to submit himself for examination by a qualified medical practitioner or in any way obstructs the same, his right to compensation shall be suspended during the continuance of such refusal or obstruction unless, in the case of refusal, he was prevented by any sufficient cause from so submitting himself.
(3) If a *[employee], before the expiry of the period within which he is liable under sub-section (1) to be required to submit himself for medical examination, voluntarily leaves without having been so examined the vicinity of the place in which he was employed, his right to compensation shall be suspended until he returns and offers himself for such examination.
(4) Where a *[employee], whose right to compensation has been suspended under sub-section (2) or sub-section (3), dies without having submitted himself for medical examination as required by either of those sub-sections, the Commissioner may, if he thinks fit, direct the payment of compensation to the dependants of the deceased*[employee].
(5) Where under sub-section (2) or sub-section (3) a right to compensation is suspended, no compensation shall be payable in respect of the period of suspension, and, if the period of suspension commences before the expiry of the waiting period referred to in clause (d) of sub-section (1) of section 4, the waiting period shall be increased by the period during which the suspension continues.
(6) Where an injured *[employee] has refused to be attended by a qualified medical practitioner whose services have been offered to him by the employer free of charge or having accepted such offer has deliberately disregarded the instructions of such medical practitioner, then, if it is proved that the *[employee] has not thereafter been regularly attended by a qualified medical practitioner or having been so attended has deliberately failed to follow his instructions and that such refusal, disregard or failure was unreasonable in the circumstances of the case and that the injury has been aggravated thereby, the injury and resulting disablement shall be deemed to be of the same nature and duration as they might reasonably have been expected to be if the *[employee] had been regularly attended by a qualified medical practitioner whose instructions he had followed, and compensation, if any, shall be payable accordingly.
12. Contracting – (1) Where any person (hereinafter in this section referred to as the principal) in the course of or for the purposes of his trade or business contracts with any other person (hereinafter in this section referred to as the contractor) for the execution by or under the contractor of the whole or any part of any work which is ordinarily part of the trade or business of the principal, the principal shall be liable to pay to any *[employee] employed in the execution of the work any compensation which he would have been liable to pay if that *[employee] had been immediately employed by him; and where compensation is claimed from the principal, this Act shall apply as if references to the principal were substituted for references to the employer except that the amount of compensation shall be calculated with reference to the wages of the *[employee] under the employer by whom he is immediately employed.
(2) Where the principal is liable to pay compensation under this section, he shall be entitled to be indemnified by the contractor, or any other person from whom the *[employee] could have recovered compensation and where a contractor who is himself a principal is liable to pay compensation or to indemnify a principal under this section he shall be entitled to be indemnified by any person standing to him in the relation of a contractor from whom the *[employee] could have recovered compensation] and all questions as to the right to and the amount of any such indemnity shall, in default of agreement, be settled by the Commissioner.
(3) Nothing in this section shall be construed as preventing a *[employee] from recovering compensation from the contractor instead of the principal.
(4) This section shall not apply in any case where the accident occurred elsewhere that on, in or about the premises on which the principal has undertaken or usually undertakes, as the case may be, to execute the work or which are otherwise under his control or management.
13. Remedies of employer against stranger.- Where a *[employee] has recovered compensation in respect of any injury caused under circumstances creating a legal liability of some person other than the person by whom the compensation was paid to pay damages in respect thereof, the person by whom the compensation was paid and any person who has been called on to pay an indemnity under section 12 shall be entitled to be indemnified by the person so liable to pay damages as aforesaid.
14. Insolvency of employer.- (1) Where any employer has entered into a contract with any insurers in respect of any liability under this Act to any *[employee], then in the event of the employer becoming insolvent or making a composition or scheme of arrangement with his creditors or, if the employer is a company, in the event of the company having commenced to be wound up, the rights of the employer against the insurers as respects that liability shall, notwithstanding anything in any law for the time being in force relating to insolvency or the winding up of companies, be transferred to and vest in the *[employee], and upon any such transfer the insurers shall have the same rights and remedies and be subject to the same liabilities as if they were the employer, so, however, that the insurers shall not be under any greater liability to the *[employee] than they would have been under the employer.
(2) If the liability of the insurers to the *[employee] is less than the liability of the employer to the *[employee], the *[employee] may prove for the balance in the insolvency proceedings or liquidation.
(3) Where in any case such as is referred to in sub-section (1) the contract of the employer with the insurers is void or voidable by reason of non-compliance on the part of the employer with any terms or conditions of the contract (other than a stipulation for the payment of premia), the provisions of that sub-section shall apply as if the contract were not void or voidable, and the insurers shall be entitled to prove in the insolvency proceedings or liquidation for the amount paid to the *[employee]:
Provided that the provisions of this sub-section shall not apply in any case in which the *[employee] fails to give the notice to the insurers of the happening of the accident and of any resulting disablement as soon as practicable after he becomes aware of the institution of the insolvency or liquidation proceedings.
(4) There shall be deemed to be included among the debts which under section 49 of the Presidency-towns Insolvency Act, 1909 (3 of 1909), or under section 61 of the Provincial Insolvency Act, 1920 (5 of 1920), or under section 530 of the Companies Act, 1956 (1 of 1956), are in the distribution of the property of an insolvent or in the distribution of the assets of a company being wound up to be paid in priority to all other debts, the amount due in respect of any compensation the liability wherefor accrued before the date of the order of adjudication of the insolvent or the date of the commencement of the winding up, as the case may be, and those Acts shall have effect accordingly.
(5) Where the compensation is a half-monthly payment, the amount due in respect thereof shall, for the purposes of this section, be taken to be the amount of the lump sum for which the half-monthly payment could, if redeemable, be redeemed if applications were made for that purpose under section 7, and a certificate of the Commissioner as to the amount of such sum shall be conclusive proof thereof.
(6) The provisions of sub-section (4) shall apply in the case of any amount for which an insurer is entitled to prove under sub-section (3), but otherwise those provisions shall not apply where the insolvent or the company being wound up has entered into such a contract with insurers as is referred to in sub-section
(7) This section shall not apply where a company is wound up voluntarily merely for the purposes of reconstruction or of amalgamation with another company.
14A. Compensation to be first charge on assets transferred by employer.- Where an employer transfers his assets before any amount due in respect of any compensation, the liability wherefor accrued before the date of the transfer, has been paid, such amount shall, notwithstanding anything contained in any other law for the time being in force, be a first charge on that part of the assets so transferred as consists of immovable property.
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Q: Sqlite+Recyclerview , app has stopped I wanna create a recyclerview which can retrieve data from database, and followed this video step by step. The application "has stopped" when I tried to run it.I I have no idea where I got it wrong. Please help.
activity_main.xml

xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:app="http://schemas.android.com/apk/res-auto"
xmlns:tools="http://schemas.android.com/tools"
android:layout_width="match_parent"
android:layout_height="match_parent"
tools:context=".MainActivity"
android:padding="16dp">

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    android:layout_centerHorizontal="true"
    android:text="0"
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    android:layout_marginTop="8dp"
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<Button
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<Button
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    android:layout_alignTop="@+id/textviewamount" />

<android.support.v7.widget.RecyclerView
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    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:layout_below="@+id/button_decrease"
    android:layout_centerHorizontal="true">

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

grocery_item.xml

android:layout_margin="8dp"
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<TextView
    android:id="@+id/textview_amount_item"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
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<TextView
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    android:layout_height="wrap_content"
    android:text="Empty Item"
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MainActivity.java
import android.content.ContentValues;
import android.database.Cursor;
import android.database.sqlite.SQLiteDatabase;
import android.support.v7.app.AppCompatActivity;
import android.os.Bundle;
import android.support.v7.widget.LinearLayoutManager;
import android.support.v7.widget.RecyclerView;
import android.view.View;
import android.widget.Button;
import android.widget.EditText;
import android.widget.TextView;

public class MainActivity extends AppCompatActivity {

    private SQLiteDatabase mDatabase;

    private GroceryAdapter mAdapter;

    private EditText mEditTextName;
    private TextView mTextViewAmount;
    private int mAmount = 0;

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_main);

        GroceryDBHelper dbHelper = new GroceryDBHelper(this);

        mDatabase = dbHelper.getWritableDatabase();
        //能往database里写数据的必须语句

        RecyclerView recyclerView = findViewById(R.id.recyclerview);
                                                    //MainActivit.xml里的recyclerView
        recyclerView.setLayoutManager(new LinearLayoutManager(this));
        mAdapter = new GroceryAdapter(this,getAllItems());
                                                 //cursor的位置放getAllItems方法来传指针
        recyclerView.setAdapter(mAdapter);

        mEditTextName = findViewById(R.id.edittext_name);
        mTextViewAmount = findViewById(R.id.textview_amount_item);

        Button buttonIncrease = findViewById(R.id.button_increase);
        Button buttonDecrease = findViewById(R.id.button_decrease);
        Button buttonAdd = findViewById(R.id.button_add);

        buttonIncrease.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View v) {
                increase();
            }
        });

        buttonDecrease.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View v) {
                decrease();
            }
        });

        buttonAdd.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View v) {
                addItem();
            }
        });
    }

    private void increase()
    {
        mAmount++;
        mTextViewAmount.setText(String.valueOf(mAmount));
    }

    private void decrease() {
        if (mAmount > 0) {
            mAmount--;
            mTextViewAmount.setText(String.valueOf(mAmount));
        }
    }

    private void addItem()
    //往database里加item的方法
    {
        if (mEditTextName.getText().toString().trim().length() == 0 || mAmount == 0)
                                              //trim:删除句首和句尾的空格
        {
            return;
            //如果每输入或输入数量为0,就不添加item,直接返回additem方法
        }

        String name = mEditTextName.getText().toString();
        ContentValues cv = new ContentValues();
        cv.put(GroceryContract.GroceryEntry.COLUMN_NAME, name);
        //将name放入database的name column里
        cv.put(GroceryContract.GroceryEntry.COLUMN_AMOUNT, mAmount);
        //将数量放入database的amount column里

        //无需手动添加id和stamp,会自动添加

        mDatabase.insert(GroceryContract.GroceryEntry.TABLE_NAME,null, cv);
        //将cv放入database的table里

        mAdapter.swapCursor(getAllItems());
        //添加新item后转换指针

        mEditTextName.getText().clear();
        //清空输入栏
    }

    private Cursor getAllItems()
    {
        return mDatabase.query(
                GroceryContract.GroceryEntry.TABLE_NAME,
                null,
                null,
                null,
                null,
                null,
                GroceryContract.GroceryEntry.COLUMN_TIMESTAMP + " DESC"
                                                                        //decending order
        );
    }
}

GroceryDBHelper.java
    import android.content.Context;
    import android.database.sqlite.SQLiteDatabase;
    import android.database.sqlite.SQLiteOpenHelper;
    import com.playah.recyclerdatabase.GroceryContract.*;

    public class GroceryDBHelper extends SQLiteOpenHelper {

        public static final String DATABASE_NAME = "grocerylist.db";
        public static final int DATABASE_VERSION = 1;
                                                 //这个数字是database的scheme

        public GroceryDBHelper(Context context) {
            super(context, DATABASE_NAME, null, DATABASE_VERSION);
        }

        @Override
        public void onCreate(SQLiteDatabase db) {
            final String SQL_CREATE_GROCERYLIST_TABLE = "CREATE TABLE "+
                    GroceryEntry.TABLE_NAME + " (" +
                    GroceryEntry._ID + "INTEGER PRIMARY KEY AUTOINCREMENT, "+
                                //ID没创建,但是已经GroceryContract.java里通过BaseColumn引入
                                                //primary key:unique identify of the row
                                                //autoincrement: 每往table加一行就添加一次
                    GroceryEntry.COLUMN_NAME + "TEXT NOT NULL," +
                                                     //not null: we have to provide a value
                    GroceryEntry.COLUMN_AMOUNT + "INTEGER NOT NULL," +
                    GroceryEntry.COLUMN_TIMESTAMP +"TIMESTAMP DEFAULT CURRENT_TIMESTAMP" +
                                                                //每往table加一行就在当前位置创建一次time stamp
                    ");";

            db.execSQL(SQL_CREATE_GROCERYLIST_TABLE);
            //执行创建database
        }

        @Override
        public void onUpgrade(SQLiteDatabase db, int oldVersion, int newVersion) {
            db.execSQL("DROP TABLE IF EXISTS " + GroceryEntry.TABLE_NAME);
            //如果database已存在,drop并重建
            onCreate(db);
        }
    }

**GroceryContract**

import android.provider.BaseColumns;

public class GroceryContract
{   private  GroceryContract() {}

                                         //引入interface
    public static final class GroceryEntry implements BaseColumns {
                                                        //展示table的id columns

        public static final String TABLE_NAME = "groceryList";
                                                //table name
        public static final String COLUMN_NAME = "name";
                                                //first column of the table
        public static final String COLUMN_AMOUNT = "amount";
                                                //amount of the item
        public static final String COLUMN_TIMESTAMP = "timestemp";

    }
}

GroceryContract.java
import android.provider.BaseColumns;

public class GroceryContract
//为table定义字符实体和行数

{   private  GroceryContract() {}
    //用的是下面的方法,用不到这个方法来构造函数

                                         //引入interface
    public static final class GroceryEntry implements BaseColumns {
                                                        //展示table的id columns

        public static final String TABLE_NAME = "groceryList";
                                                //table name
        public static final String COLUMN_NAME = "name";
                                                //first column of the table
        public static final String COLUMN_AMOUNT = "amount";
                                                //amount of the item
        public static final String COLUMN_TIMESTAMP = "timestemp";
                                                //改变item的数量

    }
}

GroceryAdapter.java
import android.content.Context;
import android.database.Cursor;
import android.support.annotation.NonNull;
import android.support.v7.widget.RecyclerView;
import android.view.LayoutInflater;
import android.view.View;
import android.view.ViewGroup;
import android.widget.TextView;

public class GroceryAdapter extends RecyclerView.Adapter<GroceryAdapter.GroceryViewHolder> {

    private Context mContext;
    private Cursor mCursor;

    public GroceryAdapter(Context context, Cursor cursor)
                                            //cursor使能够从database取出数据
    {
        mContext = context;
        mCursor = cursor;
    }

    public class GroceryViewHolder extends RecyclerView.ViewHolder
    {

        public TextView nameText;
        public TextView countText;

        public GroceryViewHolder(@NonNull View itemView) {
            super(itemView);

            nameText = itemView.findViewById(R.id.textview_name_item);
            countText = itemView.findViewById(R.id.textview_amount_item);
        }
    }

    @NonNull
    @Override
    public GroceryViewHolder onCreateViewHolder(@NonNull ViewGroup parent, int viewType) {
        LayoutInflater inflater = LayoutInflater.from(mContext);
        View view = inflater.inflate(R.layout.grocery_item, parent, false);
                                            //使用recyclervew的layout
        return new GroceryViewHolder(view);
    }

    @Override
    public void onBindViewHolder(@NonNull GroceryViewHolder holder, int position) {
        if (!mCursor.moveToPosition(position)){
            //判断cursor是否存在
            return;
        }

        String name = mCursor.getString(mCursor.getColumnIndex(GroceryContract.GroceryEntry.COLUMN_NAME));
        int amount = mCursor.getInt(mCursor.getColumnIndex(GroceryContract.GroceryEntry.COLUMN_AMOUNT));
        //从database中取得上面两种数据

        holder.nameText.setText(name);
        holder.countText.setText(String.valueOf(amount));
    }

    @Override
    public int getItemCount() {
        return mCursor.getCount();
    }

    public void swapCursor(Cursor newCursor)
            //转换cursor,为了使数据库更新后cursor在正确的位置
    {
        if (mCursor !=null){
            mCursor.close();
        }

        mCursor = newCursor;

        if(newCursor != null){
            notifyDataSetChanged();
        }
    }

Here is the logcat
--------- beginning of crash
08-13 15:51:49.125 5572-5572/com.playah.recyclerdatabase E/AndroidRuntime: FATAL EXCEPTION: main
    Process: com.playah.recyclerdatabase, PID: 5572
    java.lang.RuntimeException: Unable to start activity ComponentInfo{com.playah.recyclerdatabase/com.playah.recyclerdatabase.MainActivity}: android.database.sqlite.SQLiteException: AUTOINCREMENT is only allowed on an INTEGER PRIMARY KEY (code 1): , while compiling: CREATE TABLE groceryList (_idINTEGER PRIMARY KEY AUTOINCREMENT, nameTEXT NOT NULL,amountINTEGER NOT NULL,timestempTIMESTAMP DEFAULT CURRENT_TIMESTAMP);
        at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2817)
        at android.app.ActivityThread.handleLaunchActivity(ActivityThread.java:2892)
        at android.app.ActivityThread.-wrap11(Unknown Source:0)
        at android.app.ActivityThread$H.handleMessage(ActivityThread.java:1593)
        at android.os.Handler.dispatchMessage(Handler.java:105)
        at android.os.Looper.loop(Looper.java:164)
        at android.app.ActivityThread.main(ActivityThread.java:6541)
        at java.lang.reflect.Method.invoke(Native Method)
        at com.android.internal.os.Zygote$MethodAndArgsCaller.run(Zygote.java:240)
        at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:767)
     Caused by: android.database.sqlite.SQLiteException: AUTOINCREMENT is only allowed on an INTEGER PRIMARY KEY (code 1): , while compiling: CREATE TABLE groceryList (_idINTEGER PRIMARY KEY AUTOINCREMENT, nameTEXT NOT NULL,amountINTEGER NOT NULL,timestempTIMESTAMP DEFAULT CURRENT_TIMESTAMP);
        at android.database.sqlite.SQLiteConnection.nativePrepareStatement(Native Method)
        at android.database.sqlite.SQLiteConnection.acquirePreparedStatement(SQLiteConnection.java:889)
        at android.database.sqlite.SQLiteConnection.prepare(SQLiteConnection.java:500)
        at android.database.sqlite.SQLiteSession.prepare(SQLiteSession.java:588)
        at android.database.sqlite.SQLiteProgram.<init>(SQLiteProgram.java:58)
        at android.database.sqlite.SQLiteStatement.<init>(SQLiteStatement.java:31)
        at android.database.sqlite.SQLiteDatabase.executeSql(SQLiteDatabase.java:1677)
        at android.database.sqlite.SQLiteDatabase.execSQL(SQLiteDatabase.java:1608)
        at com.playah.recyclerdatabase.GroceryDBHelper.onCreate(GroceryDBHelper.java:33)
        at android.database.sqlite.SQLiteOpenHelper.getDatabaseLocked(SQLiteOpenHelper.java:294)
        at android.database.sqlite.SQLiteOpenHelper.getWritableDatabase(SQLiteOpenHelper.java:194)
        at com.playah.recyclerdatabase.MainActivity.onCreate(MainActivity.java:35)
        at android.app.Activity.performCreate(Activity.java:6975)
        at android.app.Instrumentation.callActivityOnCreate(Instrumentation.java:1213)
        at android.app.ActivityThread.performLaunchActivity(ActivityThread.java:2770)
        at android.app.ActivityThread.handleLaunchActivity(ActivityThread.java:2892)
        at android.app.ActivityThread.-wrap11(Unknown Source:0)
        at android.app.ActivityThread$H.handleMessage(ActivityThread.java:1593)
        at android.os.Handler.dispatchMessage(Handler.java:105)
        at android.os.Looper.loop(Looper.java:164)
        at android.app.ActivityThread.main(ActivityThread.java:6541)
        at java.lang.reflect.Method.invoke(Native Method)
        at com.android.internal.os.Zygote$MethodAndArgsCaller.run(Zygote.java:240)
        at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:767)

A: It looks like your CREATE clause misses spaces between the column names and their types.
Try to add a blank space after the column ids, like this :
GroceryEntry._ID + " INTEGER PRIMARY KEY AUTOINCREMENT, "

Right before the keyword "INTEGER". Do the same for the other lines.

A: Add space before INTEGER in double qots
    GroceryEntry._ID + " INTEGER PRIMARY KEY AUTOINCREMENT, "

redpajama_set_name: RedPajamaStackExchange


Like many of you, I imagine, it's becoming more difficult to remember certain things. Such as people's names, for instance, or trying to recall a word when writing a post, an email, or speaking. I've always been a poor speller, but it is getting even more difficult with age. I'm saved by word check for the most part, but not when sending a text. The other day I texted a friend and said that if he found himself bored this weekend that maybe he could begin writing an intro for an idea that we're brewing. The problem is that when I went to write the word "bored" I wrote "bord" instead. I knew "bord" wasn't correct, but in the moment, and in my haste, for the life of me I couldn't remember how to spell it.
"I'm losing my mind," I half-thought.
My brainwaves are definitely short-circuiting.
The good news is that in many ways I feel, like many of you probably do, that some of my thinking is clearer than it has ever been. Perhaps this is partly the wisdom of aging, but I also read recently that some areas of our brain aren't fully developed until we are 45-50 years old. How great is this? So it's not just that we have more life experiences to draw from as we age- but also that we're able to access associations more quickly than ever before.
In particular the brain's prefrontal cortex doesn't finish developing until mid-life. Among other things, this area of our brain is responsible for organizing thoughts, problem solving, considering the future, making predictions, as well as inhibiting inappropriate behavior, initiating appropriate behavior, controlling impulses, and delaying gratification.
Maybe because of this older people are more apt to grasp the big picture. Maybe this is partly why that at social occasions I am drawn to talking with them.
It is also why there is a group called The Elder Wisdom Circle. This network has more than 600 advisers, age 60-105 that offers free one-on-one advice online.
It's great to know they are there- the next time any of us are in a bit of a quandary.
This is a Great post Louise!
It is comforting to know that the prefrontal cortex continues to develop until we are 45-50.
I definitely have impairments in memory for past experiences, the details of them and for word finding and spelling.
I have noticed this decline strongly over the past few months..
I decided my brain needs room for new info and it is time to delete the old that doesn't serve the present moment.
I love what you wrote about "delaying gratification and controlling impulses" as we age.
There is a peace in it that resonates with wisdom.
I truly have loved my forties and am looking forward to the fifties for many reasons!
What I love the most about aging is having a voice.
When we are younger we carry with us insecurities, as we age we gain confidence and no longer are plugged in to what others think of us, rather stand strong in who we are.
Sometimes I think mental fogginess is also just a symptom of having too much going on at once. We are so overrun with our fast paced lives and modern technology today- and the stress it puts on us.
Thanks for the Elder Wisdom Circle link! I am totally using that sucker.
Demandra you make me laugh all the time.


text:
Barton is a Canberra suburb named after Sir Edmund Barton, Australia's first Prime Minister. Streets in Barton are named after Governors.
On Census night 2006, Barton had a population of 940 people. Barton is the most Socio-Economic advantaged location in Australia.
Barton is adjacent to Capital Hill. It contains the Department of The Prime Minister and Cabinet, Attorney-General's Department, Department of Foreign Affairs and Trade and several other Commonwealth government departments.
On Kings Avenue is the controversial Edmund Barton Building, which was heritage listed in 2005, but its modernist design has often been criticised.
The boundary of Barton runs along Telopea Park East in the south east. On the east side it surrounds the East Basin of Lake Burley Griffin. In the north east the boundary is Morshead Drive. The boundary continues along Kings Avenue all the way to State Circle. State Circle forms the boundary with Capital Hill to the west. The boundary then extends along the centre of Sydney Avenue, and finally along New South Wales Crescent back to Telopea Park.
Barton mainly contains government or national institutions and so has few commercial areas. Barton contains the ACT Hospice, named Clare Holland House, located at the east end of Lake Burley Griffin. It contains the Canberra campus of the Charles Sturt University, which is an Anglican seminary. The Australian Centre for Christianity and Culture is located next to this. The Australian Federal Police College is on Brisbane Avenue. Telopea Park School is on New South Wales Crescent.
Brassey Hotel was named after Sir Thomas Brassey, Governor of Victoria. It was originally a guest house for mid level government officials, and for Members of Parliament.
The Hotel Kurrajong, favoured by Ben Chifley and the location of his death in 1951, is also located in the suburb.
Parks in Barton include Telopea Park, York Park, Bowen Park, which is on the south shore of Lake Burley Griffin, and Grevillea Park on the north side of the lake.
Find Properties in Barton
Recent activity in Barton


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text:
Fantasia Festival, Festivals, Historical, Jidaigeki, Movies, Reviews
The Pass: Last Days Of The Samurai (2022) review [Fantasia Film Festival]
Posted by pvhaecke on August 11, 2022
It is not the first time that Takashi Koizumi, who worked as assistant director on numerous Kurosawa Akira films, tackles the jidai-geki genre. In 2014, he brought, with much acclaim, the novel Higurashi no Ki by Rin Hamuro to life on the Silver screen. Can his adaptation of Shiba Ryotaro's Touge about the heroic Tsugunosuke Kawai, known as the last samurai, attain the same acclaim?
November 9, 1867. The 15th shogun, Yoshinobu Tokugawa (Masahiro Higashide) informs his retainers that their only hope at protecting the status quo and the achievements of Ieyasu Tokugawa, the first Shogun, is to restore imperial rule and make some drastic changes.
Yet, even after ending the Shogunate, Yoshinobu retained a lot of influence. This situation lead Takamori Saigo, Toshimichi Okubo of Satsuma, and others to violently advocate for the completely deposition of Yoshinobu Tokugawa to truly finalize the imperial restoration. This conflict caused a civil war – i.e. the Boshin war – between the shogunate supporters in the west and the imperial loyalists in the east.
The chief retainer of the Echigo's Nagaoka domain, Tsuginosuke Kawai (Koji Yakusho) decides to be armed but remain neutral in order to protect the lives of the people. Furthermore, Tsugunosuke aims to mediate between the Aizu forces and the western army (e.g. Satsuma and Choshu) and to end this violent conflict.
The Pass: Last Days of The Samurai can best be read as a historical character study, as a tragic and somewhat melo-dramatic exploration of who Tsuginosuke Kawai was. Tsuginosuke Kawai is presented as to the viewer as someone who is not only radically identified with the traditional samurai-ego but is fully conscious of the promise of progress, the promise of radically rewriting the societal structure for the future (General-note 1). The former is, for example, echoed by his love for geisha, while the latter is underlined by his genuine interest in western stuff (e.g. gatlings guns, music boxes, … etc.). Moreover, he is portrayed as a honourable pacifist, as someone who desire to resolve the conflict without violence and create a future of peaceful and harmonious progress. Sadly, the arrogant self-righteousness of the leaders of Satsuma and Choshu forces him and his clan to resort to the only way left to uphold their honour: military action.
That The Pass: Last Days of The Samurai is mainly concerned with sketching out Tsuginosuke Kawai's personality is evident in the structure of the narrative. It is not for nothing that the decisive plot-element (e.g. the outcome of Kawai's meeting with the leaders of the Satsuma and Choshu rebellion) is only introduced at the middle. The 'before' is dedicated to sketching out who Kawai was – a sketching-out pushed forward by the dramatic beats foreshadowing the inevitable violent confrontation, while the 'after' focuses on the destructive consequences of the failed meeting. Furthermore, The Pass: Last Days of The Samurai starts off, as is often the case in period-drama films, with a decent amount of exposition. Yet, Koizumi, by keeping the explanation of the historical context simple and straightforward, succeeds in offering the spectator a contextual frame that allows him to easily orient himself within the narrative (Narra-note 1, Narra-note 2).
It is interesting to explore how Yoshinobu, the shogun, talks about the abolishment of titles such as retainer and lord for progress' sake. He compares it with removing the bones and organs and dissecting them. Yet, in more psychoanalytic terms, we could say that such radical abolishment takes out the bones of the societal structure, which cause the organs (i.e. subjects) to lose their orientation. These signifiers are, in other words, essential as they give subjects the form to their ego and infuse meaning into their existence within the feudal societal structure.
Yet, as Yoshinobu's wish (of abolishing the feudal system) only came to fruition in 1871, the Boshin War is still a feudal war between samurai and underpinned by samurai ideals. This is, for instance, underlined by chief retainer Tsuginosuke Kawai when he states that samurai must devote their life to his lord and serve him loyally.
In this sense, the spectator will not fail to notice that that the Boshin War is also an ironic conflict, as the outcome, as evoked by the title, marks the beginning of the end of the feudal structure. The Boshin war is, in a certain sense, the last spasmic convulsion of the samurai as ego, the last excess of samurai who feel, due to the societal unrest instigated by the appearance of the black ships, but that their end is near – i.e. that the feudal system will crumble to dust, the support of the samurai-ego will be washed away, so that an unprecedented era of Japanese history can commence.
The Pass: Last Days of The Samurai delivers the realism that is to be expected from a jidai-geki film – be it the costumes, the beautiful interiors and exteriors (e.g. Japanese gardens), beautiful sights of castles, temples, and villages, or the surrounding nature (e.g. forested mountains, the Shimano river etc.). This realism is also evident in the care that went into visualizing (i.e. through clothing) the contrast between those who remain loyal to the shogunate and the feudal tradition and those who, under the flag of the emperor, search to realize a radical break with the past.
In his composition of The Pass: Last Days of The Samurai, Koizumi heavily relies on static shots. Such reliance enables Koizumi to exploit the dimension of geometry and create some finely composed and visually pleasing shots. Yet, Koizumi's narrative is not simply a static affair. There is some fluid dynamism present within the composition, yet it is, in most cases, merely for variety's sake. Even for more action-rich moments (e.g. Tsuginosuke Kawai's dance in front of the geisha's, the clashing of armies), Koizumi mainly relies on static shots and unrushed dynamic moments remain only sparsely utilized.
Koizumi's narrative has a pleasant (melo-)dramatic flavour. The dramatic flavour of The Pass: The Last Days Of The Samurai is supported of the musical accompaniment but relies mostly on the performances. In many instances, the rhythm of a certain speech-acts or the manner of corporal movement plays an instrumental role in heightening the sense of drama. The use of static shots, in this matter, also aids in making the dramatic flavour that resides in certain speech-acts and movements come to its full right.
The Last Days Of The Samurai is a very engaging samurai narrative that does not only offer an intriguing glance at one of the most important crossroads of Japanese history, but also a melodramatic exploration of one subject's function in it. While some spectators might not appreciate the obvious romanticisation of the samurai code that much, it nevertheless plays an essential role in making the finale emotionally effective.
General-note 1: Of course, the image of the samurai within the narrative is somewhat romanticised and idealized. This romanticization plays an important role in allowing the finale to have its melo-dramatic impact on the spectator.
Narra-note 1: For the spectator that does not know that much about Japanese history the exposition offers only essential information, while for the spectator who is more knowledgeable Koizumi's exposition is able to refresh his memory.
Narra-note 2: Yet, that does not stop The Pass: Last Days Of The Samurai to contain details that only those truly well-versed in this time period will get. For instance, the exchange between Kawai and Okujiro Obata (-), the chief retainer of the Nakatsu Clan in which Kawai asks him to continue to advance the education of our people only becomes truly meaningful if one realizes that Obata will, in the Meiji period, become an important politician and educator – he played an important role in the history of Keio University.
AkiraGaku YamamotoHidetaka YoshiokaKento NagayamaKoji YakushoKyoko KagawaKyoko YoshineMasahiro HigashideMin TanakaRyota BandoTakako MatsuTakashi KoizumiTatsuya Nakadai
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Next Post My Broken Mariko (2022) [Fantasia Film Festival]


The Charitable Giving Coalition (CGC) applauds Congressman Walker and Senator Lankford for standing up for America's charitable organizations and the communities they serve. Their legislation, The Universal Charitable Giving Act, companion bills in the House and Senate, would provide taxpayers who do not itemize their tax returns a deduction for charitable contributions of up to one-third of the amount of the standard deduction.
Under current law, taxpayers who itemize their deductions receive a tax incentive for contributions made to qualified charitable organizations, but non-itemizers do not. The CGC considers the bill a good first-step toward increasing incentives for charitable giving among those who do not itemize, and is analyzing how a nonitemizer deduction with the proposed limitation on the amount deducted would impact overall giving. These assessments are taking into account a sharp increase in the number of nonitemizers predicted under tax reform proposals.
The legislation expands good tax policy, providing an incentive to more Americans to invest in their communities through charitable giving. A non-itemizer deduction will become even more critical within the larger framework of tax reform. Research shows that the current tax plan will cause a precipitous drop in charitable giving–$13 billion annually. Expansion of a charitable contribution deduction to non-itemizers could help alleviate that loss. The CGC is working with economists to assess the potential impact of the Universal Charitable Giving Act.
While the CGC does not oppose the current tax reform proposal to increase the standard deduction, the coalition and others in the nonprofit community have raised alarm about the negative consequence to America's charities and the communities. Based on the general outlines of reform for the individual tax code provisions, the standard deduction would be greatly expanded, and the number of itemizers dramatically reduced to only 5% of taxpayers.
As a result, the charitable deduction will be available to only 5% of all taxpayers—causing a significant drop in contributions. In real terms, 30 million taxpayers who itemized in 2016 will no longer have the giving incentive and will be taxed on their charitable gifts.
The CGC sees a universal charitable deduction as a fair and efficient resolution that will continue to encourage Americans to redirect their dollars to charities. The legislation will assure that contributions to charities are not taxed by the federal government and that taxpayers who currently take the deduction for their gifts will continue to be incentivized.
Furthermore, because the deduction will be available to all taxpayers, it could foster a culture of giving much earlier, providing an incentive to young taxpayers who are beginning to make their charitable investments in the communities and causes they care about.
The CGC and colleagues in the nonprofit community are committed to working through details of the legislation with Congressman Walker, Senator Lankford and other interested Members. The CGC's priority is to support an effective and efficient bill that would incentivize the most charitable giving and impose the least possible limitations on that incentive. The CGC and its colleagues are currently assessing the potential impact of the proposed bill and identifying data that could inform further development.


text:
Call for Demos & Posters
Paper/Demo submission
With the patronage of
The meeting will take place in Bardonecchia (TO), at the "Palazzo delle Feste" congress center, Piazza Valle Stretta, 1. The venue is located within walking distance (10-15 minutes, 1.1 km) from the Bardonecchia Train Station. See the map below. The congress center can be also reached from the train station by the bus Linea 1 (free of charge).
Directions to Bardonecchia
Bardonecchia can be reached by car from Torino using the Torino-Frejus A32/E70 motorway (about 1 hr, fee is €12.40 for standard car) or using state roads SS 24, SS 25 and SS 335.
Bardonecchia can be easily reached from Torino Porta Nuova train station (1 hr 24 min, one train per hour at :20. Fee is €7.00 one way) using the SFM3 line headed to Bardonecchia. See the complete timetable here. Torino Porta Nuova can be reached from Torino Porta Susa train station using the underground. Fee is €1.50.
The closest airport is the Torino International Caselle airport (95 km).
Direct bus service between Caselle airport and Bardonecchia is operated by CAVOURESE and is available only on Saturday and Sunday and must be reserved at least 48 hr in advance. Fee is €34.
The daily SADEM bus service connects Caselle airport with Torino city center and stops at Torino Porta Nuova train station.
The fee for a Taxi ride from Caselle Airport to Torino Porta Nuova is about €35.
In Caselle airport several car rentals can be also found to reach Bardonecchia by car.
Torino can be reached also from Milano Malpensa airport, using the direct SADEM bus service, and from Bergamo Orio al Serio airport, using the direct SADEM bus service. Both buses stop at Torino Porta Susa. Torino Porta Nuova can be reached from Torino Porta Susa train station using the underground. Fee is €1.50.
The organizing committee has reserved a limited amount of single/double/triple rooms (half board treatment) at Hotel Des Geneys (Via Einaudi, 21, 10052 Bardonecchia, tel. +39 0122 99001) for the nights of March 8th and 9th at a very special price. Here follow the rates per night per person:
Single room: € 77,00
Double room: € 59,00
Triple room: € 51,00
The option will expire expired on January 30th 2015, so please make sure to place your reservation within that date.
Moreover, only for the attendees of GTTI Multimedia 2015 and their families, the ski-pass for multiple days is available at a reduced price:
2 days: € 46,00
To reserve a room and/or the ski-pass, or for information for extra nights and needs, please contact the Bardonecchia Incoming offices (email to info@bardonecchiaincoming.com or by phone at +39 0122.999284).
Bardonecchia Tourism Office (in Italian)
Skiing in Bardonecchia (in English)
Turismo Torino (multiple languages)


Tickets are valid all day and allow admission to the collections and in all special exhibitions. The purchase of tickets and admission to the exhibition is available until one hour before closing. We accept all major EC cards.
The phanTECHNIKUM offers guided tours on various themes. All tours can be matched to a specific audience. Find out about our upcoming tours in the guided tours section.


text:
'Olympus Has Fallen' Sequel: Gerard Butler, Aaron Eckhart to Save London Next
Avi Lerner's Millennium Films is packaging the project in advance of next week's American Film Market
Jeff Sneider | October 29, 2013 @ 2:38 PM
"White House Down" may have gone down at the box office but a sequel to "Olympus Has Fallen" is preparing to rise, as Millennium Films is in the process of packaging the sequel "London Has Fallen" in advance of next week's American Film Market, multiple individuals familiar with the situation have told TheWrap.
While there are no deals in place with talent just yet, "Olympus" stars Gerard Butler, Aaron Eckhart, Morgan Freeman, Angela Bassett and Radha Mitchell are all expected to reprise their roles.
Also Read: 'White House Down' Vs 'Olympus Has Fallen' Mashup: Casting the Perfect Mega-Movie
FilmDistrict distributed the original and has an option on the sequel, but with CEO Peter Schlessel heading to Focus Features, the latter company is likely to distribute "London Has Fallen" in the U.S.
The "Olympus" team of Katrin Benedikt and Creighton Rothenberger will return to write the screenplay, which will find Butler and Eckhart teaming with an English MI6 agent to save London from a terrorist attack during the funeral of the British Prime Minister.
Millennium will produce and finance the sequel, which Butler will produce along with Alan Siegel, Mark Gill, Matt O'Toole and Danny Lerner. Millennium's Avi Lerner will executive produce with Trevor Short, Boaz Davidson, John Thompson and Christine Crow.
Also Read: How 'Olympus Has Fallen' Pulled Off the Year's Biggest Box-Office Surprise
The producers are currently searching for a director, as Antoine Fuqua will not be returning for the sequel, which is slated to start production on May 5, 2014. Nu Image will shop foreign rights at AFM.
"Olympus Has Fallen" grossed $161 million worldwide and was made for about half the budget of "White House Down," which grossed $204 million worldwide and is not expected to lead to a sequel.
The "London Has Fallen" news was first reported by Screen Daily.
Deal Central
Deal Central gives you the latest on Hollywood casting, script buys, greenlights and negotiations in the entertainment industry.


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Non-Review Review: Extremely Wicked, Shockingly Evil And Vile
There's an interesting film somewhere within Extremely Wicked, Shockingly Evil And Vile.
After all, the serial killer is a fascinating figure in the American popular consciousness. Although the serial killer's stature has declined since its peak in the nineties, the recent "true crime" boom on both streaming services and in podcasts have helped to reignite some interest in the figure. Indeed, it is worth noting that Extremely Wicked, Shockingly Evil And Vile feels almost like a companion piece to director Joe Berlinger's other Ted Bundy project, the Netflix documentary Conversations with a Killer: The Ted Bundy Tapes. As such, it is perhaps revealing that Extremely Wicked, Shockingly Evil And Vile feels like an appendix to The Ted Bundy Tapes, an extra that dramatises the meatier material presented in that streaming service true crime documentary.
Killer good looks.
After all, although Berlinger has worked on narrative films before, he is known primarily as a documentarian. (There is some small irony that his most prominent narrative film is Blair Witch 2: Book of Shadows.) Inevitably, Extremely Wicked, Shockingly Evil And Vile would feel secondary. It may have premiered on the festival before The Ted Bundy Tapes, but it was released afterwards, ensuring that to the casual viewer it will seem like something of a response to that breakout hit. More than that, though, Extremely Wicked, Shockingly Evil And Vile feels like it has very little new to say about either its serial killer or its cultural context. There is surprisingly little in Extremely Wicked, Shockingly Evil And Vile that isn't evoked by the words "Ted Bundy."
The serial killer is a well-explored subject in popular fiction, having been the focus of decades of narratives and deconstructions. Extremely Wicked, Shockingly Evil And Vile looks for an interesting angle on its subject, but never finds a way in. The result is a film that has an interesting premise, but which struggled to get under the skin of a serial killer.
Slice of life.
Filed under: Non-Review Reviews | Tagged: Extremely Wicked Shockingly Evil And Vile, film, jon berlinger, Movie, non-review review, review, ted bundy, Zac Efron | 2 Comments »
Non-Review Review: Baywatch
The most damning criticism of Baywatch is that it is actually a pretty decent Baywatch movie.
Of course, it is hard to define exactly what Baywatch is. The show ran for eleven seasons, launched a handful of spin-offs, built up an instant recognisable iconography. However, the most striking Baywatch was just how hazily the concept was defined. As imagined by Baywatch, the beach front was a tabula rasa, a canvas as blank as the sand dunes on the shore or the expressions on most of the cast's faces. The beauty of Baywatch was in its lack of a distinct identity, its capacity to be almost anything that it wanted to be, albeit in the clumsiest and cheapest manner possible.
To Beaches, or Not To Beaches?
Baywatch was nominally a show about lifeguards, about beautiful people running in slow motion. However, it could also be a show about shark attacks, about drug smuggling, about wrestling matches, about illegal immigration, about mermaids, about possession. It could even launch a spin-off Baywatch Nights, about private investigators pursuing beach-themed crimes that evolved into a water-themed X-Files knock-off. Baywatch could be whatever the audience wanted it to be, and even sometimes what they needed it to be.
Baywatch was a mirror unto which anything could be projected, the most popular show in the world about the day-to-day adventures on Malibu Pier. Baywatch became a window into the popular consciousness, an abyss that gazed back. Many tried to decipher its mysteries, to account for its popularity. Was it as simple as the fact that very pretty people were running while wearing very little clothes? Did Baywatch speak to a deeper yearning in those landlocked countries where it proved so popular? Did Baywatch know the audience better than they knew themselves?
A versatile storytelling engine.
All of this is to say that Baywatch comes with a baked-in absurdity. It is so elastic a premise, and so ridiculous a concept, that it is pretty much immune to mockery. It is hard to imagine a joke about Baywatch that the show never embraced in earnest during its two-hundred-and-forty episode run. Baywatch is beyond parody as a pop culture object. It is a möbius strip of ridiculousness and earnestness, taking itself so seriously that it doubles back around into self-aware absurdity.
This is the biggest problem with Baywatch. It is a terrible parody of Baywatch, if only because the source material seems to exist in a realm where parody has been folded in on itself and presented as an entirely sincere beach-bound adventure.
Lost at sea.
Filed under: Non-Review Reviews | Tagged: baywatch, Dwayne Johnson, film, Movie, non-review review, the rock, Zac Efron | 5 Comments »
Non-Review Review: We Are Your Friends
Posted on August 26, 2015 by Darren
Appropriately enough, We Are Your Friends feels like a selection of remixed samples of other movies.
The script for We Are Your Friends dutifully hits all the requisite beats from a coming of age story about a young man trying to find his way in the world; in this case, "the world" refers to "the San Fernando valley", just over the Hollywood Hills. Appropriately enough, We Are Your Friends positions the valley ("the Valley") as a sort of purgatory for those who want to get out towards better things; aspiring DJs and actors trapped in dull routine who must learn to stay true to themselves to attain meaningful (and not just material) success.
It is a very familiar story structure, one that lends itself to the sense of social striving associated with other (more substantial) films about life in Los Angeles. We Are Your Friends doesn't have a story as much as it has an outline; the requisite steps that young would-be DJ Cole Carter must take on the path to stardom. There is an older mentor with feet of clay, a troubled love interest also looking for meaning in the world; there is the false promise of financial security, a tragic lesson about life lived to access.
However, all of this is drawn so broadly that We Are Your Friends is a tracklist rather than an album. Director Max Joseph brings commendable energy to the film, and Zac Efron is quite affable as a protagonist more cliché than character. Wes Bentley adds just a hint of flavour to an otherwise ambient film. We Are Your Friends is inoffensive, but ultimately more visually interesting than completely satisfying.
Hey, Mister DJ, put a record on…
Filed under: Non-Review Reviews | Tagged: Emily Ratajkowski, film, max joseph, Movie, non-review review, review, we are your friends, wes bentley, Zac Efron | Leave a comment »
Non-Review Review: Bad Neighbours
Bad Neighbours is a serviceable – if unexceptional – comedy. The story of two young parents engaged in a turf war with the college fraternity next door, Bad Neighbours feels somewhat slight, even for its abbreviated ninety-seven minute runtime. The laughs are there, and the movie never outstays its welcome, but there's a sense that the film spends a considerable amount of its runtime in neutral – ramping up for some wonderful sequences, but never building enough momentum to truly take off.
Filed under: Non-Review Reviews | Tagged: bad neighbours, comedy, film, Movie, neighbors, Nicholas Stoller, non-review review, review, Zac Efron | 2 Comments »
Non-Review Review: Hit & Run
This movie was seen as part of Movie Fest, which was as much of a joy this year as it was last year. If not moreso.
Hit & Run is just a mess. It is, like its protagonists, all over the map. It never seems to be entirely sure of what it wants to be. Is it a high-speed comedy, a road-trip adventure, or a romantic comedy about an unconventional couple? There are moments when the film seems to work, on the verge of coming together, but there are also moments where it misses the mark completely. The problem is that Dax Shepard is not quite as versatile as Dax Shepard seems to think that he is.
Tres Bell?
Filed under: Non-Review Reviews | Tagged: arts, Beau Bridges, bradley cooper, Charles Bronson, comedy, David Koechner, Dax Shepard, film, Gay Lesbian and Bisexual, history, hit & run, hit and run, kristen bell, los angeles, Memorials, Michael Rosenbaum, Movie, movie fest, non-review review, Performing Arts, Recreation, review, Romantic comedy film, Shepard, Tom Arnold, United States, Zac Efron | Leave a comment »
Non-Review Review: The Lucky One
It's hard not to feel a tad manipulated by The Lucky One, a story that seems to want to be about the relationship between fate (or chance) and choice. Following a veteran of a foreign conflict as he tries to adjust to life back home, trying to make sense of his survival in a war that claimed the lives of countless friends and colleagues, I don't doubt that The Lucky One was intended as a profound meditation on those themes. However, what we end up with is a rather muddled romance that never truly gets off the ground thanks to a lackluster central performance from Zac Efron and some rather uncomfortable subtext.
Not quite picture perfect...
Filed under: Non-Review Reviews | Tagged: arts, Blythe Danner, Dr. Seuss, Efron, film, High School Musical, Lucky One, Movie, Nicholas Sparks, non-review review, Posttraumatic stress disorder, review, Romeo and Juliet, Taylor Schilling, youtube, Zac Efron | 3 Comments »
Academy to Cut Honorary Awards from Telecast…
I'm going to give the expansion of the Best Picture category the benefit of the doubt and I don't really care about the Original Song rules, to be completely honest, but I am a little ticked off at the announcement that the Honorary Oscars are being shunted back stage. Talk about completely missing the point – the Academy doesn't seem to get that most viewers aren't clamoring for that extra High School Musical song so badly that they're shunt off someone who has made such a massive contribution to popular culture as to warrant the Honorary Award. I just don't get this decision.
We want the Academy to take its hat off to Charlie Chaplin...
Filed under: Movies | Tagged: academy awards, AMPAS, charlie chaplin, cinema, film, Honorary Oscars, Movies, Oscar telecast, Oscars, Zac Efron | 4 Comments »
RT @steveasbell: GET READY TO BOOGEY DOWN! In theaters 6/2/23. Trailer later today....around... 23 minutes ago
@historyfilmfan "I've lost all ambition For worldly acclaim I just want to be the one you love."...around... 1 hour ago
@historyfilmfan The review embargo lifts in a week and a bit....around... 1 hour ago


Please ask questions about the club,(i.e. Photo Policy, Ticket Availability, Set Times) in the FAQ Forum. Also take the time to read the reponses to the other questions already posted there before asking the same question again.
If you are looking for or selling extra tickets, you can only post in the ticket x-change forum. All ticket requests posted in the main forum will be moved to the ticket x-change forum. Tickets can only be sold for face value in the ticket x-change forum.


text:
Q: Postgres - inserting a varchar array via SQL I want to execute this query.
INSERT INTO items (title, description,
start_date,
expiration_date,
type,
quantity,
state,
sold,
cover_photo_file_name,
cover_photo_content_type,
cover_photo_file_size,
instructions)
VALUES
(
    'some_test_value',
    'lorem ipsum',
    '2015-01-01 00:00:00',
    '2015-06-10 00:00:00',
    0,
    19,
    0,
    0,
    'RackMultipart20150317-10093-1ny4gmx.gif',
    'image/gif',
    157574,
    {"lorem ipsum\r","dolor sit\r","loremloremipsumipsum 'sitsit' dolor sit"}
    );

I get a very nasty
ERROR: syntax error at or near "{"

When i try to do it the
ARRAY["Lorem ipsum\r", ...]

I get:
ERROR: column "Lorem ipsum" does not exist

The problem is i cannot change the db right now (i don't have time for it) so i need to construct a query that will "do" the job (although this db requires normalization with use of DROP DATABSE... )
What is wrong with my code? Maybe i'm missing something obvious but my tired mind is just skipping it.

A: INSERT INTO items (title, description,
start_date,
expiration_date,
type,
quantity,
state,
sold,
cover_photo_file_name,
cover_photo_content_type,
cover_photo_file_size,
instructions)
VALUES
  ('some_test_value',
  'lorem ipsum',
'2015-01-01 00:00:00',
'2015-06-10 00:00:00',
0,
19,
0,
0,
'RackMultipart20150317-10093-1ny4gmx.gif',
'image/gif',
157574,
'{"lorem ipsum\r","dolor sit\r","loremloremipsumipsum 'sitsit' dolor sit"}'
);

Please try this...

A: String literals need to be enclosed in single quotes ' not double quotes.
Only inside the "short hand" array notation using {...} the values need to be enclosed in double quotes:
'{"lorem ipsum", "dolor sit"}'::text[]

Using the ARRAY constructor is easier here:
ARRAY['Lorem ipsum\r', ...]

because the single quotes don't need to be escaped.


text:
'The Bachelorette' 2017 spoilers: Rachel Lindsay teases one fantasy suite detail
The Bachelorette's Rachel Lindsay on accepting love again after ... - bostonherald.com
Does the Season 13 lead sleep with her final three men in the fantasy suites? See what she has to say!
by Heather Tooley
May 15, 2017 at 12:09 PM May 15, 2017 at 12:09 PM
rachel lindsay teases that she's not taking the same path on "The Bachelorette" 2017 season that Nick Viall did during his time on "The Bachelor," according to spoilers she's dishing on. In exactly one week, the show returns and fans get to see the first African-American lead in the franchise. In an interview with Entertainment Tonight, Lindsay reveals that race is addressed at the very beginning of the show given the fact she's the first black "Bachelorette." She was also asked about the Fantasy suite dates and notes the key difference between Nick's overnights and hers.
Rachel Lindsay won't get "intimate" with "everyone"
Rachel says that unlike Nick, she won't be getting "intimate with everyone in the fantasy suites." She does admit that when someone gets "in that moment," that "you just don't know" what's going to happen. "The Bachelorette" 2017 lead continued that she doesn't see that happening for her, however. She tells fans that they'll just have to wait and see what happens!
Will Rachel listen to anyone warning her about another man in the house?
Lindsay says if someone tells her about a villain in the house, she'll be "aware" of it and have her "antennae up," but won't fret over it. It sounds like anyone who pulls catty behavior or expresses no desire to be on "The Bachelorette" for the right reasons, that she'll weed them out fairly quick.
Such assessments from this Dallas attorney are no shock to fans.
What does Rachel want in a man?
Rachel is seeking a confident man, but not anyone who has that annoying "cocky" personality. She says she can deal with momentarily, but it's not a trait she puts up with for very long. Since Lindsay stays true to herself, she demands the same standards of her men -- and told producers that.
Additionally, Lindsay doesn't avoid the subject of race. She asks her contestants if they've ever dated a woman outside their own race because she thinks it's important to know if they've experienced that. Moreover, Rachel has dated men outside her race and has always been open to that.
Will Rachel Lindsay sleep with anyone in the fantasy suites when the final three are narrowed down on "The Bachelorette"?
The fantasy suites are private for leads and the finalists; the one aspect of the show that viewers don't get the details of unless those involved spoil it themselves.
Are you ready to watch Lindsay find love on the show? Spoilers for the last episodes taped should be coming this week and we'll find out who she picks in the end. Previous spoilers have indicated that she gets engaged this season. "The Bachelorette" 2017 premieres Monday, May 22nd at 8 p.m., ET/PT on ABC.
Heather Tooley
Follow heather on Twitter
Read more on the same topic from Heather Tooley:
'The Bachelorette' official cast released for Becca Kufrin's season 'RHOC' spoilers dish activities and trip itinerary to Jamaica Lisa Rinna rumored to lose full-time housewife status on 'RHOBH'
Tiffany Bailey
Follow tiffany on Facebook
Blasting News recommends Mike Tyson wants Tom Brady to return to the Bucs next season Daddy duty for Tom Brady as he spends quality time with daughter Vivian Rob Gronkowski weighs in on Brady's future: TB12 will pick Bucs over Raiders Ex-teammate Kyle Van Noy shows love for Tom Brady, calls him the 'best ever' Ann Coulter betrays Donald Trump, finally admits presidency is a 'nightmare' Powers Boothe Dead: 'Deadwood' actor dies At 68


The Colorado Rockies 2018 season ended in disappointment but it was still a thrill ride for the most part. Players and the manager took the time after the game to talk about the season in the rearview mirror and a little bit about what the future may hold.
Hear the raw and uncut audio from Bud Black, Nolan Arenado, Carlos Gonzalez, Kyle Freeland, Adam Ottavino, Matt Holliday, DJ LeMahieu, David Dahl, and Jon Gray.
Topics range from a frustrating NLDS to a tough season for the offense to the incredible pitching Colorado saw this year and some early answers from the impending free agents about their offseason plans.


I am seriously coveting the circular personalized address labels over at Fun and Sassy Designs. How cute would they look slapped on the back of your next birthday invitation, thank you note, or Christmas /holiday card? I stumbled upon the Fun and Sassy website because Mama Bargains has a selection of their circular Halloween labels priced at 50% off today ($4.25 for 20). But, I'm really more in the market for everyday labels and Christmas labels, like these here beauties.
Fun and Sassy also has a slew of other items if you're not into the circular, from traditional labels, to cards and gift tags too. There's free shipping on orders over $50 and you can currently get a 10% discount with code 2KL4SKL. Also, for a limited time, all orders of over 60 address labels will be doubled for free. Awesome.


Messana Radiant Cooling Kicks Off a Lunch and Learn Tour With Global Design, Architecture and Engineering Firm HOK.
Immediately on the heels of hiring new Messana Radiant Cooling West Coast Sales Manager, Dan McDunn, and capitalizing on enormous traction and interest in the AEC market for radiant cooling, a tour of 10 top end global design firms continued Tuesday with a visit and presentation to HOK's San Francisco office.
Radiant cooling and heating is quickly becoming the preferred method for space conditioning in high-end projects of all types. From custom residential to multifamily, to office, retail, civic, academic and healthcare, architects and engineers that design these spaces value the Messana Radiant Cooling system for a number of reasons.
(1) First, and foremost, is the thermal comfort of building occupants. Utilizing radiant for both heating and cooling insures that maximum occupant comfort is achieved at all times irrespective of fenestration, ceiling heights or other elements affecting design loads.
(2) Second is the complete freedom of design that radiant affords. With no ductwork to contemplate, architects are free to design unimpeded by soffits, chaises, registers and returns, and over the life of the building interior designers don't have these elements to contemplate as spaces evolve and furnishings change.
(3) Third is indoor air quality. With no blowing dust, and no noise, a radiant heating and cooling system delivers more human benefits than just thermal comfort and good design. It also delivers an optimum experience for those that suffer the consequences of poor indoor air quality that often accompanies forced air systems.
Unlike antiquated radiant floor heating systems, a radiant ceiling delivers much faster response times, completely eliminates the risk to finished floor surfaces, and can remove the need for ductwork, soffits, chaises, registers and returns – elements that impede good design. Messana provides all the benefits of a radiant system year round, not just during heating season.
While not new in Europe (a 20 year track record and over 10,000 installations), Messana is fairly new to the United States. In this presentation, attendees learned about designing with radiant, the science behind the comfort and health benefits of the Messana system, and a few case studies were detailed to give an understanding of how to work with Messana Radiant Cooling, and why clients prefer this over conventional heating and cooling.
If you would like to learn more about the Messana Radiant Cooling system please call Dan McDunn at (510) 710-1907 to set up a site visit or a lunch and learn at your firm.


text:
Scotinotylus castoris är en spindelart som först beskrevs av Chamberlin 1948.  Scotinotylus castoris ingår i släktet Scotinotylus och familjen täckvävarspindlar. Inga underarter finns listade i Catalogue of Life.

Källor

Täckvävarspindlar
castoris

redpajama_set_name: RedPajamaWikipedia


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