text:
package org.hisp.dhis.sms.listener;

import com.google.common.collect.Sets;
import org.hisp.dhis.DhisConvenienceTest;
import org.hisp.dhis.category.CategoryOptionCombo;
import org.hisp.dhis.category.CategoryService;
import org.hisp.dhis.common.ValueType;
import org.hisp.dhis.dataelement.DataElement;
import org.hisp.dhis.dataelement.DataElementService;
import org.hisp.dhis.dataset.CompleteDataSetRegistration;
import org.hisp.dhis.dataset.CompleteDataSetRegistrationService;
import org.hisp.dhis.dataset.DataSet;
import org.hisp.dhis.dataset.DataSetService;
import org.hisp.dhis.datavalue.DataValue;
import org.hisp.dhis.datavalue.DataValueService;
import org.hisp.dhis.message.MessageSender;
import org.hisp.dhis.organisationunit.OrganisationUnit;
import org.hisp.dhis.outboundmessage.OutboundMessageResponse;
import org.hisp.dhis.period.Period;
import org.hisp.dhis.sms.command.SMSCommand;
import org.hisp.dhis.sms.command.SMSCommandService;
import org.hisp.dhis.sms.command.SMSSpecialCharacter;
import org.hisp.dhis.sms.command.code.SMSCode;
import org.hisp.dhis.sms.incoming.IncomingSms;
import org.hisp.dhis.sms.incoming.IncomingSmsService;
import org.hisp.dhis.sms.incoming.SmsMessageStatus;
import org.hisp.dhis.sms.outbound.GatewayResponse;
import org.hisp.dhis.sms.parse.ParserType;
import org.hisp.dhis.sms.parse.SMSParserException;
import org.hisp.dhis.user.User;
import org.hisp.dhis.user.UserService;
import org.junit.Before;
import org.junit.Test;
import org.junit.runner.RunWith;
import org.mockito.InjectMocks;
import org.mockito.Mock;
import org.mockito.runners.MockitoJUnitRunner;

import java.util.Arrays;
import java.util.Date;

import static org.junit.Assert.*;
import static org.mockito.Mockito.*;

/**
 * @Author Zubair Asghar.
 */

@RunWith( MockitoJUnitRunner.class )
public class DataValueListenerTest extends DhisConvenienceTest
{
    private static final String FETCHED_DATA_VALUE = "fetchedDataValue";
    private static final String STORED_BY = "CGhost";
    private static final String LAST_UPDATED_BY = "CGhost";
    private static final String DATA_ENTRY_COMMAND = "dataentrycommand";
    private static final String SUCCESS_MESSAGE = "data entered successfully";
    private static final String SMS_TEXT = DATA_ENTRY_COMMAND + " " + "de=sample";
    private static final String SMS_TEXT_FOR_CUSTOM_SEPARATOR = DATA_ENTRY_COMMAND + " " + "de.sample";
    private static final String SMS_TEXT_FOR_COMPULSORY = DATA_ENTRY_COMMAND + " " + "de=sample=deb=sample2";
    private static final String SMS_TEXT_FOR_COMPULSORY2 = DATA_ENTRY_COMMAND + " " + "de=sample|deb=sample2";
    private static final String ORIGINATOR = "474000000";
    private static final String WRONG_FORMAT = "WRONG_FORMAT";
    private static final String MORE_THAN_ONE_OU = "MORE_THAN_ONE_OU";

    @Mock
    private CompleteDataSetRegistrationService registrationService;

    @Mock
    private DataValueService dataValueService;

    @Mock
    private CategoryService dataElementCategoryService;

    @Mock
    private SMSCommandService smsCommandService;

    @Mock
    private DataSetService dataSetService;

    @Mock
    private IncomingSmsService incomingSmsService;

    @Mock
    private DataElementService dataElementService;

    @Mock
    private MessageSender smsSender;

    @Mock
    private UserService userService;

    @InjectMocks
    private DataValueSMSListener dataValueSMSListener;

    private CompleteDataSetRegistration fetchedCompleteDataSetRegistration;
    private CompleteDataSetRegistration savedCompleteDataSetRegistration;
    private CompleteDataSetRegistration deletedCompleteDataSetRegistration;

    private DataValue fetchedDataValue;
    private DataValue addedDataValue;
    private DataValue updatedDataValue;

    private DataElement dataElement;
    private DataElement dataElementB;

    private CategoryOptionCombo defaultCategoryOptionCombo;
    private CategoryOptionCombo categoryOptionCombo;

    private OrganisationUnit organisationUnitA;
    private OrganisationUnit organisationUnitB;
    private DataSet dataSet;
    private Period period;
    private User user;
    private User userB;
    private User userC;
    private User userWithNoOu;
    private User userwithMultipleOu;

    private SMSCommand keyValueCommand;
    private SMSCode smsCode;
    private SMSCode smsCodeForcompulsory;
    private SMSSpecialCharacter smsSpecialCharacter;
    private IncomingSms incomingSms;
    private IncomingSms incomingSmsForCustomSeparator;
    private IncomingSms incomingSmsForCompulsoryCode;
    private IncomingSms updatedIncomingSms;

    private OutboundMessageResponse response;

    private boolean locked = false;
    private boolean smsConfigured = true;

    private String message = "";

    @Before
    public void initTest()
    {
        setUpInstances();

        // Mock for registrationService
        when( registrationService.getCompleteDataSetRegistration( any(), any(), any(), any() ) )
            .thenReturn( fetchedCompleteDataSetRegistration );

        doAnswer(invocation -> {
            savedCompleteDataSetRegistration = (CompleteDataSetRegistration) invocation.getArguments()[0];
            return savedCompleteDataSetRegistration;
        }).when( registrationService ).saveCompleteDataSetRegistration( any() );

        doAnswer( invocation -> {
            deletedCompleteDataSetRegistration = (CompleteDataSetRegistration) invocation.getArguments()[0];
            return deletedCompleteDataSetRegistration;
        }).when( registrationService ).deleteCompleteDataSetRegistration( any() );

        // Mock for dataValueService
        when( dataValueService.getDataValue( any(), any(), any(), any() ) )
            .thenReturn( fetchedDataValue );

        when( dataValueService.addDataValue( any() ) )
            .thenAnswer( invocation -> {
                addedDataValue = (DataValue) invocation.getArguments()[0];
                return addedDataValue;
            });

        doAnswer( invocation -> {
            updatedDataValue = (DataValue) invocation.getArguments()[0];
            return updatedDataValue;
        }).when( dataValueService ).updateDataValue( any() );

        // Mock for userService
        when( userService.getUser( anyString() ) ).thenReturn( user );

        // Mock for dataElementCategoryService
        when( dataElementCategoryService.getDefaultCategoryOptionCombo() ).thenReturn( defaultCategoryOptionCombo );

        when ( dataElementCategoryService.getCategoryOptionCombo( anyInt() ) ).thenReturn( categoryOptionCombo );

        // Mock for smsCommandService
        when( smsCommandService.getSMSCommand( anyString(), any() ) ).thenReturn( keyValueCommand );

        // Mock for dataSetService
        when( dataSetService.isLocked( any(), any( DataSet.class ), any(), any(), any(), any() ) ).thenReturn( locked );

        // Mock for incomingSmsService
        doAnswer( invocation -> {
            updatedIncomingSms = (IncomingSms) invocation.getArguments()[0];
            return updatedIncomingSms;
        }).when( incomingSmsService ).update( any() );

        // Mock for dataElementService
        when( dataElementService.getDataElement( anyInt() ) ).thenReturn( dataElement );

        // Mock for smsSender
        when( smsSender.isConfigured() ).thenReturn( smsConfigured );

        when( smsSender.sendMessage( anyString(), anyString(), anyString() ) ).thenAnswer( invocation -> {
            message = (String) invocation.getArguments()[1];
            return response;
        });
    }

    @Test
    public void testAccept()
    {
        incomingSms.setUser( user );
        boolean result = dataValueSMSListener.accept( incomingSms );

        assertTrue( result );

        result = dataValueSMSListener.accept( null );

        assertFalse( result );
    }

    @Test
    public void testReceive()
    {
        incomingSms.setUser( user );
        dataValueSMSListener.receive( incomingSms );

        assertNotNull( updatedIncomingSms );
        assertEquals( SmsMessageStatus.PROCESSED, updatedIncomingSms.getStatus() );
        assertTrue( updatedIncomingSms.isParsed() );
    }

    @Test( expected = SMSParserException.class )
    public void testIfDataSetIsLocked() throws Exception
    {
        incomingSms.setUser( user );
        when( dataSetService.isLocked( any(), any(DataSet.class ), any(), any(), any(), any() ) ).thenReturn( true );
        dataValueSMSListener.receive( incomingSms );

        verify( smsCommandService, times( 1 ) ).getSMSCommand( anyString(), any() );
        verify( dataSetService, times( 1 ) ).isLocked( user, any(DataSet.class ), any(), any(), any(), any() );
        verify( incomingSmsService, never() ).update( any() );
    }

    @Test
    public void testIfUserHasNoOu()
    {
        incomingSms.setUser( userWithNoOu );
        when( userService.getUser( anyString() ) ).thenReturn( userWithNoOu );
        dataValueSMSListener.receive( incomingSms );

        assertEquals( message, SMSCommand.NO_USER_MESSAGE );
        assertNull( updatedIncomingSms );
        verify( dataSetService, never() ).isLocked( any(), any(DataSet.class ), any(), any(), any(), any() );
    }

    @Test
    public void testIfUserHasMultipleOUs()
    {
        incomingSms.setUser( userwithMultipleOu );

        when( userService.getUser( anyString() ) ).thenReturn( userwithMultipleOu );
        when( userService.getUsersByPhoneNumber( anyString() ) ).thenReturn( Arrays.asList( userwithMultipleOu ) );

        dataValueSMSListener.receive( incomingSms );

        assertEquals( message, SMSCommand.MORE_THAN_ONE_ORGUNIT_MESSAGE );
        assertNull( updatedIncomingSms );
        verify( dataSetService, never() ).isLocked( any(), any(DataSet.class ), any(), any(), any(), any() );

        keyValueCommand.setMoreThanOneOrgUnitMessage( MORE_THAN_ONE_OU );
        dataValueSMSListener.receive( incomingSms );

        // system will use custom message
        assertEquals( message, MORE_THAN_ONE_OU );
    }

    @Test
    public void testIfDiffUsersHasSameOU()
    {
        incomingSms.setUser( user );

        when( userService.getUser( anyString() ) ).thenReturn( user );
        when( userService.getUsersByPhoneNumber( anyString() ) ).thenReturn( Arrays.asList( user, userB ) );

        dataValueSMSListener.receive( incomingSms );

        assertEquals( message, SUCCESS_MESSAGE );

        when( userService.getUsersByPhoneNumber( anyString() ) ).thenReturn( Arrays.asList( user, userC ) );

        keyValueCommand.setMoreThanOneOrgUnitMessage( MORE_THAN_ONE_OU );
        dataValueSMSListener.receive( incomingSms );

        // system will use custom message
        assertEquals( message, MORE_THAN_ONE_OU );
    }

    @Test
    public void testIfCommandHasCorrectFormat()
    {
        dataValueSMSListener.receive( incomingSmsForCustomSeparator );

        assertEquals( message, SMSCommand.WRONG_FORMAT_MESSAGE );
        assertNull( updatedIncomingSms );
        verify( dataSetService, never() ).isLocked( any(), any(DataSet.class ), any(), any(), any(), any() );

        keyValueCommand.setWrongFormatMessage( WRONG_FORMAT );
        dataValueSMSListener.receive( incomingSmsForCustomSeparator );

        // system will use custom message
        assertEquals( WRONG_FORMAT, message );
    }

    @Test
    public void testIfMandatoryParameterMissing()
    {
        keyValueCommand.getCodes().add( smsCodeForcompulsory );
        keyValueCommand.setSeparator( null );
        keyValueCommand.setCodeValueSeparator( null );
        incomingSmsForCompulsoryCode.setText( SMS_TEXT );

        dataValueSMSListener.receive( incomingSmsForCompulsoryCode );

        assertEquals( message, SMSCommand.PARAMETER_MISSING );

        incomingSmsForCompulsoryCode.setText( SMS_TEXT_FOR_COMPULSORY );

        dataValueSMSListener.receive( incomingSmsForCompulsoryCode );

        assertEquals( keyValueCommand.getSuccessMessage(), message );

        incomingSmsForCompulsoryCode.setText( SMS_TEXT_FOR_COMPULSORY2 );

        dataValueSMSListener.receive( incomingSmsForCompulsoryCode );

        assertEquals( keyValueCommand.getSuccessMessage(), message );
    }

    @Test
    public void testDefaultSeparator()
    {
        keyValueCommand.setSeparator( null );
        keyValueCommand.setCodeValueSeparator( null );

        // = is default separator
        dataValueSMSListener.receive( incomingSms );

        assertNotNull( updatedIncomingSms );
        assertEquals( SmsMessageStatus.PROCESSED, updatedIncomingSms.getStatus() );
        assertTrue( updatedIncomingSms.isParsed() );
    }

    @Test
    public void testCustomSeparator()
    {
        keyValueCommand.setSeparator( "." );
        keyValueCommand.setCodeValueSeparator( "." );
        keyValueCommand.setWrongFormatMessage( null );

        dataValueSMSListener.receive( incomingSmsForCustomSeparator );

        assertNotNull( updatedIncomingSms );
        assertEquals( SmsMessageStatus.PROCESSED, updatedIncomingSms.getStatus() );
        assertTrue( updatedIncomingSms.isParsed() );

        // when custom separator is empty space
        keyValueCommand.setSeparator( " " );
        keyValueCommand.setCodeValueSeparator( " " );
        dataValueSMSListener.receive( incomingSmsForCustomSeparator );

        assertEquals( message, SMSCommand.WRONG_FORMAT_MESSAGE );
    }

    private void setUpInstances()
    {
        organisationUnitA = createOrganisationUnit( 'O' );
        organisationUnitB = createOrganisationUnit( 'P' );
        dataSet = createDataSet( 'D' );
        period = createPeriod( new Date(), new Date() );

        user = createUser( 'U' );
        user.setPhoneNumber( ORIGINATOR );
        user.setOrganisationUnits( Sets.newHashSet( organisationUnitA ) );

        userB = createUser( 'B' );
        userB.setPhoneNumber( ORIGINATOR );
        userB.setOrganisationUnits( Sets.newHashSet( organisationUnitA ) );

        userC = createUser( 'C' );
        userC.setPhoneNumber( ORIGINATOR );
        userC.setOrganisationUnits( Sets.newHashSet( organisationUnitA, organisationUnitB ) );

        userWithNoOu = createUser( 'V' );
        userWithNoOu.setPhoneNumber( null );
        userWithNoOu.setOrganisationUnits( null );

        userwithMultipleOu = createUser( 'W' );
        userwithMultipleOu.setPhoneNumber( ORIGINATOR );
        userwithMultipleOu.setOrganisationUnits( Sets.newHashSet( organisationUnitA, organisationUnitB ) );

        dataElement = createDataElement( 'D' );
        dataElement.setValueType(ValueType.TEXT );
        defaultCategoryOptionCombo = createCategoryOptionCombo( 'D' );
        categoryOptionCombo = createCategoryOptionCombo( 'C' );

        dataElementB = createDataElement( 'B' );
        dataElementB.setValueType(ValueType.TEXT );

        fetchedDataValue = createDataValue( dataElement, period, organisationUnitA, FETCHED_DATA_VALUE, categoryOptionCombo );

        fetchedCompleteDataSetRegistration = new CompleteDataSetRegistration( dataSet, period, organisationUnitA,
            categoryOptionCombo, new Date(), STORED_BY, LAST_UPDATED_BY, new Date(), true );

        smsCode = new SMSCode();
        smsCode.setCode( "de" );
        smsCode.setDataElement( dataElement );

        smsCodeForcompulsory = new SMSCode();
        smsCodeForcompulsory.setCode( "deb" );
        smsCodeForcompulsory.setDataElement( dataElementB );
        smsCodeForcompulsory.setCompulsory( true );

        smsSpecialCharacter = new SMSSpecialCharacter();
        smsSpecialCharacter.setName( "special" );
        smsSpecialCharacter.setValue( "spc1" );

        keyValueCommand = new SMSCommand();
        keyValueCommand.setName( DATA_ENTRY_COMMAND );
        keyValueCommand.setParserType( ParserType.KEY_VALUE_PARSER );
        keyValueCommand.setDataset( dataSet );
        keyValueCommand.setCodes( Sets.newHashSet( smsCode ) );
        keyValueCommand.setSuccessMessage( SUCCESS_MESSAGE );

        response = new OutboundMessageResponse();
        response.setResponseObject( GatewayResponse.SUCCESS );
        response.setOk( true );

        incomingSms = new IncomingSms();
        incomingSms.setText( SMS_TEXT );
        incomingSms.setOriginator( ORIGINATOR );
        incomingSms.setUser( user );

        incomingSmsForCompulsoryCode = new IncomingSms();
        incomingSmsForCompulsoryCode.setText( SMS_TEXT_FOR_COMPULSORY );
        incomingSmsForCompulsoryCode.setOriginator( ORIGINATOR );
        incomingSmsForCompulsoryCode.setUser( user );

        incomingSmsForCustomSeparator = new IncomingSms();
        incomingSmsForCustomSeparator.setText( SMS_TEXT_FOR_CUSTOM_SEPARATOR );
        incomingSmsForCustomSeparator.setOriginator( ORIGINATOR );
        incomingSmsForCustomSeparator.setUser( user );
    }
}


text:
Life on the Breakneck Road
Magazine article from What's A Few Men? era featuring interviews with Mark Seymour and John Archer, on album themes, group dynamics, and challenges on tour.
Author: Toby Creswell, Rolling Stone.
Date: December 1987.
Original URL: N/A.
Hunters and Collectors have recorded their best album to date, with all the power of their live performances and an analysis of suburban Australia. Mark Seymour and John Archer talk about sex and suburbia…
Somewhere in the mid-Western American night the Hunters & Collectors were playing one of the forty shows on their second American tour. They were being supported on this night by a zydeco band – the real swamp guys who spoke in a Creole patois so thick it was almost undecipherable. But they could really swing that mixture of R&B and gumbo played with washboard and dobra. The Hunters took stage and powered out their two hours of stripped down post-punk rock & roll and as usual on this tour they had the club audience on its feet. The Cajun musicians from Louisiana and the Hunters & Collectors from Melbourne formed a mutual admiration society.
After the set one of the guys came up to the Hunters and asked, in his thick Louisiana accent, what the Australian boys called their music. The Hunters shrugged, not quite knowing what the question meant and believing that rock & roll was pretty much universal. "There must be a name for that type of music," insisted the Southerner. For once the erudite Hunters were lost for words. "Dunno," they said, "Oz-pub-rock I guess."
Only Hunters & Collectors could come up with a line like that. Not because they are the only pub rock band in Australia but because they have set out to become quintessentially that in both theory and practice. One only has to look at their chequered shirts, short, austere hair cuts, the bulging biceps and pectorals – they look like they stepped out of a suburban barbecue. And the songs are about the social rituals of suburban Australia in a way that is both passionately sympathetic with and slightly removed from everyday Australia.
Most groups in this country spend a great deal of their time performing in clubs and pubs; the simple economic fact is that their income depends on live performance. Hunters & Collectors have not only resigned themselves to the touring, they have turned it into a badge of courage. Paradoxically, as they have simplified their music for the pubs they have become more sophisticated.
Just a couple of classic examples of the Hunters dual personality are singer Mark Seymour and bass player John Archer. Seymour, the son of schoolteachers grew up in the outer Melbourne suburb of Templestowe, graduated from high school and studied Fine Art at university intending to become a schoolteacher himself. Seymour remembers a bookish childhood and a certain intellectual bent. Archer on the other hand grew up across Melbourne, his mother is a doctor and his father a test pilot. Archer enrolled in engineering after school and found himself a job working on jets before taking up bass guitar. Both claim to be the soul of consistency in the band. They met at university along with drummer Doug Falconer and began messing around in bands including one combo called the Jetsonnes whose line-up included ABC reporter Margo O'Neill, and they attained some cult status in the late-Seventies.
Their cult status was such that by the time Hunters & Collectors played their first show the 'house full' signs were going up. In those days the band featured eight to ten musicians on stage; the songs were long and obtuse. They were a phenomenon but a lot of people didn't quite know what to make of them.
"That's because a lot of people saw us as the Birthday Party's road crew," quips Archer, "which we had been. We did quite a few shows around Melbourne and a tour of Adelaide with them. I did front-of-house, Mark did stage and Geoff (Crosby, ex-keyboard player) did lights. We were the best road crew they ever had. They were very relaxed, great to work for. They were so relaxed in fact they didn't know what was happening."
"On paper it read pretty well; what our group's intent was and what the group's principles were. It all sounded pretty fair and reasonable but it was self-defeating. We had eight songs when we started so we played all of them and then we had to start repeating songs. They were long songs. There were a lot of people on stage hitting things but it wasn't very organised."
The early Hunters & Collectors filled an art-rock void in Melbourne and then made the obligatory pilgrimage to Europe to live, record, tour and appear on the cover of magazines. They managed all but the last and found the whole thing thoroughly dispiriting.
"It took me a long time to find a form of expression that no-one else was doing," says Seymour. "We went to England and we were living in the shadow of the Birthday Party like a whole lot of other bands were at that time. We really had to keep gigging to come out from under that shadow. Also we wanted to write something that was an expression of feeling that had something to do with this environment."
The result of this process has been a series of LPs – The Jaws of Life, Human Frailty and now What's A Few Men? Which have focused on the Australian landscape with Australian customs – beer and trucks – and Australian characters. The band has taken their music back to its most elemental form and relied strongly on conventions of rock & roll.
"I used to intellectualise about it in public," says Seymour, "but there's no point. Personally, I like concepts but they bore people. If people want to know what my favourite colour is I'm quite prepared to talk about that and I'll go away and conceptualise by myself. There was a time when the first and possibly only thing we were prepared to discuss were intellectual things. That's just a skill like learning to ride a bicycle and you either have a penchant for it or you don't."
"I think art magazines like Art & Text are irrelevant. You can read Art & Text and it's just the tyranny of language – certain writers who aren't very lucid thinkers themselves, using language to retain the reins of power in a fairly obscure form of intellectual activity. Art & Text is incredibly difficult to understand so it will always remain the property of an elite. I'm much more interested in communicating ideas to as many people as possible and you can't use that sort of language to do that."
Hunters have always tended to hand their recent albums around fairly loose themes. The Jaws of Life represented the Australian landscape and its mythology of alcohol and violence – the title track referred to the case of the truckdriver who levelled a Territory pub in anger at a wayward girlfriend. Human Frailty dealt with sexual politics – in a very candid fashion – and the new album has a strong theme of the male ego running through the lyrics.
"Male behaviour is something that intrigues me," says Seymour. The singer is in Sydney, staying as usual at the Bondi Cosmopolitan. The balcony has his swimming costume and running shorts drying on a chair, beside his bed is a copy of Robert Hughes' Fatal Shore, a history of convict settlement in Australia. His writing desk has a very full notebook and on the other table sits a photograph of Sylvester Stallone dressed as Rambo.
"There's a lot of things about it that intrigues me. Particularly with the guys in the band, watching how their behaviour changes on the road away from their wives and girlfriends. Everybody has to cope in their own way with being in close proximity to each other in professional situations. We don't empathise with each other on a personal level. There's a certain amount of personal contact but it's like a middle-aged marriage – you spend most of your time bumping into each other and you keep your mind on the long term. The thing is, everyone has to deal with the trauma of being deprived of sex for so long."
"Most groupies are really dumb and its usually a really tacky situation," he continues. "It's usually pretty depressing, spiritually empty. Girls come up to you offering themselves saying you can do anything to them and you think where the fuck am I? I can't handle casual sex. I always get involved, and if I don't I feel guilty."
"The title of the album is based on the book A Fortunate Life by Albert Facey. What I was trying to get across was that men can feel commitment and pride, and that men can be quite suicidal in numbers and committed to something that is totally absurd. Men tend to be more self-destructive than women."
The notion of pursuing super-stardom in America may possibly fall into the category of commitment to absurdity. Not because Hunters & Collectors haven't the talent, but the logistics and the effort required to make an impact on the conservative American market are back-breaking.
The Hunters, in the face of nil radio airplay, established themselves in Australia by simply playing live to as many people as possible and winning over audiences by the sheer power of their performances. To some extent they have adopted the same policy in the U.S.A. where their tours have won them fans and much critical acclaim. But there's a long way to go.
Their last US tour was undertaken in a small bus with the band taking their own PA system from Australia. The PA was built and maintained by Archer who took personal responsibility for it on that tour.
"I enjoyed that tour because it was a challenge," he explains. "Thirteen thousand miles playing forty dates in a very short space of time. For me it was entertaining because I had to adapt the PA to every venue that we played in and the power for every venue is completely different. All our stuff runs in 240 volts and their stuff is roughly 110. There are no plugs so you can't just plug it in you have to open boxes in the wall and take them apart and measure voltages and try and find something you can use."
"I'm right into driving and you'd do three hundred miles to get there and find out how to put the thing together. It's a challenge. If you can't find a challenge for yourself on a tour like that then you get bored and go crazy. A lot of people in the band did that."
"The song "Give Me A Reason" on this album is about that," he continues. "I wrote the music for that right at the end of the sessions because we needed more songs with a bit of levity in them. I was trying to describe to Mark what kept me going on the American tour and I said I needed to give myself a reason to get up in the morning and go out and do what we were doing. I needed to structure my life around something and work as hard as possible on it."
"Mark surprised me a hell of a lot when he wrote the lyric for that song from something I'd said. That had never happened before. He listens to what I say but I don't think he reckons it makes much sense."
"He's really eccentric," says Seymour describing his bass player. "His approach to what we do is totally opposite to mine, he's on a different wavelength. He's totally focussed in what he does and he just goes from A to B. A lot of the energy in the band comes from the tension between us."
"Doug and Michael Waters are both incredibly sardonic and dry," says Seymour explaining the interaction within the group. "Doug is like the Upper House in the band. John and Jeremy and I tend to develop a lot of ideas and put them up to the band and Doug and Michael Waters decide whether they will turn them into a rhythm or not. That's what makes them into Hunters & Collectors songs. I write in a fairly traditional way along the lines of a singer songwriter and the ideas gestate through Doug."
"Jack is the straight man. He's really straightforward and direct and he's not into subtlety or ambiguity at all. He arranges most of the brass lines. Jack was very important in changing the attitude of the band a couple years ago when we were losing our way. He was always making a big for the melodic aspects of the band, he always saw melody in the music which was an aspect we hadn't looked at."
The band have always included their front-of-house mixer, Robert Miles in the group as a full-time member which fits in with their aesthetic of a live band. Miles also contributes to the band's art work. "Apart from the fact that he's a really good mixer," says Seymour, "he can always be relied on to throw in the odd oblique comment. When members of the band start getting too paranoid, and this industry runs on paranoia, Robert seems to give an outside perspective, he's able to say this is a distortion of how things are."
Seymour makes few claims to being focused. What he is is enthusiastic and he embraces his enthusiasms with passion. One of his long standing obsessions concern energy and its equation with intensity. Seymour runs. He took up the sport at eighteen and started competing a twenty and he's kept it up ever since, partly to keep fit and partly to keep his adrenalin level at a point where he can easily pump up his hormones with a quick shot of vodka and a bit of psyching before a show. "I put out a lot of energy on stage," he explains, "on the idea that if you put out the energy then people will get involved. What I've done is get to the stage where I connect with my emotions fairly easily through music. Our shows have always been pretty intense and I think that's what kept the punters coming back. It's only recently that there has been a deliberate focus on my personal drama."
His lyrics over recent years have been trying to convey narratives about Australia along with his own personal problems. The Human Frailty album was inspired by domestic disasters. The issue of male/female politics arose and Seymour threw himself into it, coming up with songs that were almost embarrassingly candid and quite brutal in their imagery. When asked how he would stand up to a feminist critique he replies, "Probably disastrously. The great part of feminist criticism is unreasonable. It doesn't give men the benefit of the doubt. My sympathies often go out to men. I think the days are well and truly gone when women are expected to fall into stereotypical roles. These days it's dog eat dog. But that was an issue we dealt with on Human Frailty, I'm not really interested in it anymore. I'm interested in the spirit of adventure that goes with travelling around Australia and getting up in front of people and building a following in the pubs. The spirit of community that creates."
Seymour is by nature a very honest and open person. He doesn't mind discussing any topics from his AIDS test (result negative) or that he is in favour of wearing condoms to favourite drugs. At present he has a fascination with ecstacy.
"I especially like the word itself. It's such a great double entendre. Acid is probably my favourite drug – it's demanding and it takes you somewhere. The thing about ecstacy is that it's so superficial. It's not all embracing like alcohol is. With alcohol you can become really absorbed. I hate heroin, I've never taken it but I've watched what other people are like."
For all his candour Seymour still has plenty of demons. One of which is ambition. The success of his brother Nick in Crowded House doesn't sit easily with Mark. Crowded House have cracked the kind of acceptance that the Hunters have been striving for for years and he jokes wbout his one gold album at his parent's house overshadowed by Nick's set of platinum awards. "You can't let that fuck you up," he says. "I have a band which gives me full creative flight. What's a few million bucks between friends?"
Family life has had more serious effects on the lyricist. His father for example was also a strict authoritarian and happened to be headmaster at Seymour's school. "I saw him twenty-four hours a day and it was really weird. It was like schizophrenia seeing this really tender person change his habitat and become this other person. He adopted this persona, he'd even talk to me in a different way. It's taken me years to realise how much that affected me at the time. If nothing else I've got a chip on my shoulder about authority."
"A lot of my style on stage comes from watching my father lead school assembly, particularly the grand hand gestures. A couple of months ago my father was watching our live video The Way To Go Out and he was sitting there and I said what does that remind you of Dad?"
Archer also came from a very authoritarian background with a severe paternal figure. His career choices seemed pretty straightforward though he gradually started drifting towards music. "Mechanical things always interested me," he explains. "I have quite an obsession with machinery. I used to work at an aircraft factory for four and a half years working on jet engines that had blown up – Mirage fighters. We were supposed to be working out why they had exploded. While I was doing that I built the PA that we use. It intrigued me."
Where Seymour is garrulous, Archer is laconic. He down plays most of what he does, especially his outside production work for bands such as Harem Scarem and the Olympic Sideburns. "They're not necessarily great recordings but they're good value for money."
"It has taken us as a band a long time to get to the position where we can produce a consistent record," says Archer. "We're not writing songs with anything different in mind than we originally had. We always wanted to write a good song. I don't think this record we've just done sounds watered down or diminished in any way. I think it still sounds strong."
The album What's A Few Men? was recorded in Melbourne earlier this year with American producer Greg Edward who had produced the Living Daylight EP for the band. Edward was chosen largely because of his work as an engineer on John Cougar Mellencamp's Scarecrow album. Archer credits Edwards with the ability to push the band hard in the studio and to draw a cohesive record out of what was apparently chaos. The group had just returned from an American tour and were short of songs so that the writing period was very short and Seymour's lyrics tended to concentrate on one or two themes.
The first single 'Do You See What I See?' is, in Seymour's words, "An attempt to describe the cycle suburban Australians go through when they leave home. They tend to move into the cities and cut themselves off for a few years and then they start to move back out, re-establish connections with home again. It's like a fertility thing."
"'Breakneck Road' was written after our second tour of New Zealand. We'd just returned from a disastrous tour overseas and we'd done a terrible tour of Australia playing all these suburban rooms and getting a very bad reaction. People just weren't interested. Then we went to New Zealand and everything was totally different. They just got it and took it for what it was worth rather than comparing to some idea they had of the band. The title came from one breakneck drive we did from Picton down to Christchurch in a mad race with the feeling of the landscape going by and the whole feeling of the tour."
"Just after that tour David Lange told the U.S. government they couldn't dock their warships without informing the government whether they were carrying nuclear weapons. The song changed into a political anthem after that, wondering why our two countries which are so close couldn't take a common stand on this. Why we don't stay outside the whole superpower standoff."
"With this album I've tried to look at the landscape – this huge open area that we play in," says Seymour. "There's more of a spiritual feel to this record than the previous one and less of me brow-beating the audience with my own personal problems. It's more a matter of trying to create a sense of a journey through the landscape. There's more peace of mind on this record and a lot more sense of the unknown."
"The bomb used to be a big problem with me," he laughs. "Now I tend to think if they do, they do. I still touch on the subject – apocalypse is something you always have in the back of your mind, you can't hide from it. I think the thing I realise most about it is that apocalypse is measured individually by each person's sense of their own mortality."
Thankyou to Trevor for typing out this article for us all to enjoy.

redpajama_set_name: RedPajamaCommonCrawl


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Reviews / August 24, 2017
Why Everybody is Talking About "Every. Now. Then"
The AGO's "Every. Now. Then: Reframing Nationhood" has won a lot of buzz. And for good reason: this show is diverse, challenging and genuinely surprising
Camille Turner and Camal Pirbhai, Bell (Wanted Series), 2016. Digital photograph, dimensions variable. Courtesy of the artists. © Camille Turner and Camal Pirbhai. Photo: Christina Sideris.
by Vidal Wu
Consider Bell from Camal Pirbhai and Camille Turner's Wanted series—an immense conceptual photograph that has everything and nothing to do with Canada at the same time. Wanted takes newspaper ads placed by Canadian slave owners claiming their runaway slaves and recreates them as beguiling, defiant photographs. These images run against Canada's self-serving narrative as deeply uncool, endlessly apologetic and cripplingly passive-aggressive.
Bell is none of those things, drawing on Toronto's long history of posing as New York in its after-five campiness; at the same time, it bears an indexical relation to missing and murdered Indigenous women who, like those fugitive slaves, simply disappeared.
"Every. Now. Then: Reframing Nationhood"—in which Bell appears—is on now at the Art Gallery of Ontario. And the show is, thankfully, uninterested in being a Colonialism 101 for old arts patrons. Instead, it concerns itself with more than justifying the humanity of Black and Indigenous people.
Curated by Andrew Hunter, Anique Jordan and Quill Christie-Peters, the exhibition is an impressive survey of works that are diverse, challenging and genuinely surprising. After a summer of ambivalence and resistance regarding the sesquicentennial, the experience of seeing familiar artists and activists from Toronto's social justice community and Canada's contemporary art scene feels urgent and relevant.
Detail of Ruth Cuthand's Don't Breathe, Don't Drink. Photo: via DC3 Art Projects.
A cast of a fossilized form of a giant sea scorpion is placed adjacent to Ruth Cuthand's Don't Breathe, Don't Drink; Cuthand's piece consists of 94 vessels with beaded resin sculptures on a beaded blue tarp, representing 94 First Nations under boil-water advisories. Together, the ancient artifact and the contemporary artwork elicit a sense of despair. It reminds us that colonialism is as infectious as it is insidious, lingering in even the water. Cuthand's piece, created in 2016, is all the more devastating in the wake of Canada 150—now, 153 boil water advisories, many of them in Ontario, continue to be in effect in First Nations communities.
Walking into The Possession Project, an "exhibition within an exhibition" by emerging GTA-based artists, I was devastated by Fluke, an installation and poetry reading by Britta B. "You are not a fluke!" it proclaims, an unexpected message that I didn't know I needed. Guests are encouraged to draw a hand-written affirmation from a jar—mine read, "A smile on your face makes others happy"—and as platitudinal as it was, the stubborn, childlike sincerity of the message rang loud and true. The indiscriminate care this piece extends is real and genuine.
Radical notions of care are put forward in Syrus Marcus Ware's Baby, Don't Worry, You Know That We Got You, four enormous pencil drawings of members of Toronto's social justice community—some of which I had encountered at the Gladstone Hotel's Art Hut during "Black Art City," an exhibition loosely based around Black Lives Matter's Tent City outside of Toronto Police Headquarters last year. Reinforcing BLM's radical notions of indiscriminate care by immortalizing some of its greatest proponents, among them BLMTO co-founder Yusra Khogali, Baby, Don't Worry provides, in part, a response to the blatantly false and racist characterization of BLM as "violent" by liberal and conservative commentators alike.
Syrus Marcus Ware, Baby, Don't Worry, You Know That We Got You, 2017. Graphite on paper, 365.9 × 609.8 cm. Courtesy of the artist. © Syrus Marcus Ware.
Here, it occurs to me that Black art that isn't immediately legible as Black is construed differently in the absence of racialized signifiers. Whether or not an artist chooses to foreground their identity is a meaningful choice: On the one hand, the tendency of racialized artists to move away from abstraction can be read as a result of the fact that white supremacy deliberately obscures or misrepresents the experiences of racialized people. On the other hand, Capital-B Black art in institutional spaces can often feel coerced into crystal-clear representation, being privileged primarily if it's legible (to white audiences) or otherwise erudite in its representation of Black experience.
These thoughts on the representation of Black people informed my experience of Xiong Gu's Illuminated Niagara Falls, a towering photographic documentation of migrant workers from Jamaica and Mexico in Southern Ontario. They also affected my reading of the early tintype photographs of Black Canadians in the "Free Black North" exhibition two floors below. Where these two projects lean on representation as proof of existence of marginalized people, and as a justification of their humanity, the wider scope of "Every. Now. Then" takes it a step further, directing, in a sophisticated manner, how that very presence is narrativized.
Indeed, the thematic density and clarity of "Every. Now. Then." foregrounds bodies and identities in ways that preserve their autonomy—and more importantly, it doesn't preserve them for the consumption of others, a common criticism of non-Indigenous curation of Indigenous art. In nearly every instance here, artist and subject coolly meets the gaze of curator and viewer.
Esmaa Mohamoud, Heavy Heavy (Hoop Dreams), 2016. Cast concrete, 304.8 × 304.8 cm. Collection of the artist. © Esmaa Mohamoud.
Esmaa Mohamoud's One of the Boys and Heavy, Heavy (Hoop Dreams) contend with these gazes by inverting the mythologies erected around Black men. In the former, Raptors jerseys are reworked into grandiose ballgowns, pointing towards the rigidity of gender roles and, by extension, expectations placed on Black men. The literal and metaphorical weight of such expectations is reflected in the latter work: concrete casts of partially deflated basketballs, vulnerable in form but resolute in their materiality. "The concrete basketballs are physically heavy but also so fragile—the nature of concrete is to crack, so eventually these will break apart," Mohamoud explains in the catalogue text.
One would be remiss not to acknowledge the work of the curators in using every available square inch of the AGO's fourth floor to have institutional mainstays like Tim Pitsiulak and Robert Houle rub shoulders with contemporaries both emerging and unknown. Bearing witness to such intriguing mix of works in a condensed space felt akin to touring several galleries in a single visit, complicating and expanding an ongoing narrative that is far more complex than any imagined by a royal commission.
Presenting such a complex, sentient portrayal of Canadian identity, politics and culture is rife with risks and pitfalls, but Hunter, Jordan and Christie-Peters have navigated all of them deftly, incorporating diversity, social justice advocacy and community outreach in a riveting presentation that will be referenced and discussed for years to come.
Vidal Wu is the editorial resident at Canadian Art.
Vidal Wu
View recent articles by Vidal Wu
Reviews / October 5, 2017
A Creative (Time) Take on Nuit Blanche
The 10th annual Creative Time Summit culminated in a Nuit Blanche display that centred around revolution—and, for this critic, actually kind of delivered
Claudia Rankine in Banff: On White Supremacy, Art and America
"Things are about to get bad in ways that we will and will not see," said the award-winning poet during a July lecture. And she was right.
Reviews / April 27, 2017
The Life That Georgia O'Keeffe Built
The famed American painter could create a world just as well as she could capture one. A new exhibition at the Art Gallery of Ontario shows how.
by Caoimhe Morgan-Feir
Reviews / December 12, 2018
What Images Don't Do
The Anthropocene Project contains stunning views of mining, deforestation, pollution and more. But how does it normalize what humans have done to the planet?
by Jayne Wilkinson
Reviews / July 25, 2018
We Aren't a "We"
The diasporic arts collective RAGGA NYC ventures north of the border for a new exhibition
by Tiana Reid


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Coucieiro es una freguesia portuguesa del concelho de Vila Verde, con 4,21 km² de superficie y 511 habitantes (2001). Su densidad de población es de 121,4 hab/km².

Enlaces externos

 Coucieiro en freguesiasdeportugal.com (en portugués)
 Gobierno civil e información administrativa (en portugués)

Freguesias de Vila Verde

redpajama_set_name: RedPajamaWikipedia


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Libya: The Spirit of 2006
Italian minister Roberto Calderoli shows off a Mohammed cartoon on a T-shirt on Italian TV in 2006. In response, thousands took to the streets in Benghazi, ten people died in the ensuing violence directed at the Italiian embassy, Calderoli resigned, and today, five years later, that Spriti of 2006 has taken Tripoli.
From the beginnings of fighting in Libya, John Rosenthal has owned the English-language reporting on the "rebels" -- a remarkable feat for an independent journalist competing with Goliath Media.
With anti-Qadaffi forces now in Tripoli, it's worth revisiting what may be Rosenthal's singlemost clarifying report on the jihadists roots of the insurrection, which go back to a violent Benghazi outpouring in 2006 against the West -- against freedom of speech and the Danish Mohammed cartoons. In these Libyan protests, which Rosenthal describes below, we see the point of the sword in the ongoing Islamic pressure-movement against Western freedom of speech, specifically, against the freedom to criticize, to mock, to oppose, to debate, to understand Islam -- in other words, to undergo the essential intellectual preparations to defend our freedom from jihad.
From April 1, 2011 at Pajamas Media: Our Principles? The Libyan Insurrection and the Mohammed Cartoons"
By John Rosenthal
"We must stand alongside those who believe in the same core principles," President Obama said in his speech Monday night justifying American military intervention in Libya. But there is reason to doubt that the eastern Libyan forces opposed to the rule of Moammar al-Gaddafi do share our core principles — at any rate, if by "our" principles the president means American ones.
This is not only because, as reported on PJM, the rebel forces contain al-Qaeda linked elements that have fought against America in both Afghanistan and Iraq. A look back at the origins of the eastern Libyan rebellion suggests that it has been an essentially Islamist rebellion from the start. Indeed, little known to most Americans, one of the principal sources of inspiration for the rebellion is to be found in that most Islamist of all sources of outrage: the famous "Mohammed cartoons" published by the Danish newspaper Jyllands-Posten in 2005.
The eastern Libyan rebellion began with a "Day of Rage" on February 17. The "Day of Rage" was called by an organization named the National Conference for the Libyan Opposition (NCLO). The choice of the date was not arbitrary. According to the English edition of the pan-Arab newspaper Asharq Al-Awsat, the date was chosen to commemorate "the 17 February 2006 uprisings in the city of Benghazi where protests against the Danish cartoons of the prophet Muhammad were transformed into mass demonstrations against Gaddafi and his regime, resulting in the death of dozens of protestors and the injury of many more."
Reports at the time, citing official Libyan sources, spoke of eleven confirmed dead. The deaths occurred when rioters attempted to storm the Italian consulate in Benghazi. The building was set on fire and consulate personnel had to be evacuated. "We feared for our lives," the wife of the consul general was quoted as saying in the Italian daily Corriere della Sera. A consulate employee spoke of "thousands" of young men that descended upon the consulate, coming from the local mosques. February 17, 2006, was a Friday, so the rioters were presumably coming from Friday prayers. After initially attempting to disperse the crowd with tear gas, Libyan police opened fire.
The 2006 attack on the Italian consulate helps to explain the reluctance of Italian authorities to support the eastern Libyan rebels and their ambivalence about the Western-led military intervention.
The rage of the Benghazi rioters appears to have been specifically directed at the Italian consulate as a consequence of a television appearance two days earlier by Italian "Reforms Minister" Roberto Calderoli. In reaction to the protests against the Mohammed cartoons in Muslim countries, Calderoli had previously announced that he intended to print up t-shirts with a cartoon of Mohammed on them and to wear one himself. During an interview on the Italian public television Rai Uno on February 15, Calderoli did not merely defend the idea; he proceeded to unbutton his shirt and show that he was in fact wearing such a t-shirt.
Calderoli explained that the gesture was a matter of a "battle for freedom." Alluding to the cartoon protestors, he added defiantly, "When they recognize our rights, I'll take off the shirt." According to the Corriere della Sera, Calderoli's counter-protest was widely reported in Arab media.
The day after the Benghazi riots, Calderoli resigned from his post in the Italian government. In a statement, he said that "it has never been my intention to offend the Muslim religion nor to be a pretext for yesterday's violence." But he also described the violence sparked by the cartoons in Muslim countries more generally as "a veritable attack on the West, which worries me and should worry everyone whose responsibility it is to see to it that diverse cultures live together peacefully."
The role played by the Mohammed cartoons in the history of the Libyan rebellion is by no means the only indication of the latter's Islamist inspiration. The president of the United States and other Western leaders and opinion-makers have lately been busy parsing the statements of the so-called Transitional National Council, which has served as the political face of the rebellion vis-à-vis the international community. Someone going by the name of Andy Stone, on the other hand, had the idea of examining the Arabic contents found on the website of the National Conference for the Libyan Opposition.
Stone, who published his findings online here, discovered an NCLO document titled "Gaddafi: Islam's no. 1 Enemy." The document was published on February 15 of this year, just two days before the NCLO-sponsored "Day of Rage" protests in Benghazi.
The document amounts to an indictment of Muammar al-Gaddafi on account of a long list of alleged crimes against Islamic orthodoxy. These include, for instance, Gaddafi's insistence that Christians and Jews should be allowed to visit Mecca.
For the charges leveled against Muammar al-Gaddafi in the NCLO's "Gaddafi: Islam's Enemy no. 1," see Tony Badran's English translation on the Tatler.
John Rosenthal writes on European politics and transatlantic security issues. You can follow his work at www.trans-int.com or on Facebook here.


Crowd everywhere on weekend. More so with Sushi Teh Fusion Fiesta promotion going on and only knew about it when we visited Playground@Big Splash last Friday night. Overall it took 45 mins waiting time for car park and be seated.
Salmon Mentalyaki - Fried salmon top with a layer of crispy creamy fish roe.


Digital speed meter display. Spring elevator pole easy positioning with Overheat, and fuse safety protection.
Operating capacity: 0.3ml ~ 3L with the same drive.
Over-current, overheat protection, and fuse safety device.


The British actor has been firmly on the A-list since playing Superman in Man Of Steel, but as MF finds, he hasn't let fame go to his head. He prefers living in London, walking his dog and doing the kind of workout that makes you look like a super-powered alien being. And, he says, he wants to show others the way to heroic strength too.


Proposed measures of the circular economy are assumed to be environmentally favourable but there is limited empirical evidence on how this actually works in practice or if it is true. A life cycle-based approach has been argued useful for critical assessment of circular economy measures. In life cycle assessment, several perceptions exist regarding what the environmental problem with metal resource use consists of, manifesting in differing impact assessment methods. Since these methods have been shown to give diverging results it is plausible that the choice of LCIA-method could have significant implications for the assessment of circular economy for products such as laptops. Except for recycling, there are no comparative assessment studies of circular economy measures that deploy complementary LCIA-methods on metal resource use.
A life cycle assessment was conducted studying reuse as mediated by a resale and refurbishment company, using several LCIA-methods in parallel. This served to find which metals that are important in laptops depending on LCIA-method and how metals may benefit from reuse. Second-hand laptops were deemed functionally equivalent to new ones. Reuse was assumed to double product lifetime of 70% of sourced laptops to six years in total. In EoL, recycled metals were assumed to displace respective primary production.
The LCA study shows that reuse of laptops contributed to resource-efficiency in two principal ways: firstly, through the intended use extension (41% reduction compared to new laptops) and secondly, by steering material flows, i.e. laptops that cannot be reused, into recycling. This increased recycling was found especially important according to some LCIA-methods (varying between 1-9% reduction compared to new laptops) which characterise metals that are functionally recycled as important (typically methods using average crustal concentrations as part of their characterisation factors) and negligible in others (typically using reserves as part of their characterisation factors). Some metals have visible contributions in all methods and are unlikely missed if only using one LCIA-method. Other metals are visibly contributing in one or a few methods and thereby risk getting missed in such cases. It is therefore advisable to use complementary methods to minimise risks of overlooking relevant metal resource use aspects when studying circular economy measures for electronics.
Stiftelsen för miljöstrategisk forskning (Mistra), 2016-01-01 -- 2019-12-31.


text:
Biography Tracy Wilhelmy Stevens
Tracy Wilhelmy Stevens
by John Max 20 Dec,2020
Famous Name Tracy Stevens
Country United States US
Birth Name Tracy Wilhelmy
Birth Place Rocky River, Ohio
Famous Name Tracy Wilhelmy Stevens
Father Albert Wilhelmy
Mother Mary Kay
Profession Attorney
Married to Brad Stevens
Children Two
Tracy Wilhelmy Stevens is a popular WAG who is the wife of Brad Stevens, an American professional basketball coach who currently stands as the head coach of the Boston Celtics of the National Basketball Association (NBA). The duo met at college and married after some years.
Rocky River, Ohio native, Tracy Stevens was born on 7th October 1976, under the star sign Libra. She holds an American nationality and is of white ethnic background.
Tied The Knot With Brad Stevens
Tracy Wilhelmy Stevens met her future husband Brad Steven at DePauw University. There she was a soccer team captain while Brad played in all 101 DePauw games, earning four varsity letters. Their relationship blossomed on their mutual love for sports. Their third date was a long drive to watch a high school basketball match. And, not a high school basketball game at a high school they went to together.
In the summer of 2000, Brad was offered the opportunity to volunteer in the Butler basketball office and Tracy Wilhelmy motivated him to go for it. Brad said, "Now, it looks like a great idea. At the time, I thought it was something I really wanted to try."
Tracy Wilhelmy and her husband, Brad SOURCE: Fabwags.com
On the other hand, Tracy started law school to get a J.D. degree that could support the couple if things did not work out for Stevens. They remember, "We were 23 and realized this was our chance. Five years down the road, we were probably not going to be in a position to do that. The more success you had at Lilly, the harder it would be to leave."
On 8th August 2003, Tracy and Brad tied the knot at Cuyahoga, Ohio. Still, the couple is together in every up and down in their life and stronger than ever.
Husband: Brad Steven
Brad Stevens (22nd October 1976, Zionsville, Indiana) is a professional basketball coach who stands as the head coach of the Boston Celtics of the National Basketball Association (NBA). A Zionsville Community High Schoo graduate, he later enrolled at DePauw University, where he played basketball and earned a degree in economics. In 2001, he pursued his career in the coaching field serving as an assistant from 2001 to 2007 at Butler University. Further, he became the head coach at Butler.
In 2013, he was hired by the Boston Celtics as their new head coach. Brad Stevens signed a 6 year / $22,000,000 contract with the Boston Celtics, including an annual average salary of $3,666,667. As of 2020, his net worth is approximately $10 million.
Parenting Two Children
In 2006, Tracy and her husband, Brad welcomed their first child, a son named Brady. Later, three years daughter, Kinsley was born.
Tracy Wilhelmy's children and husband SOURCE: Heavy.com
Their son is already following his parent's footprint in the sports world. A high school kid, Brady is an active football player in high school in Colorado. The family of four currently resides in Boston, Massachusetts.
Early Life (Parents & Academics)
Tracy is the daughter of Mary Kay and Albert Wilhelmy. Along with her siblings, she was raised in Rocky River, Ohio. In June 2004, her mother died who had been diagnosed with cancer.
For high school, Tracy enrolled at Rocky River Gigh School, graduating in 1995. She then attended DePauw University where she majored in Political science. Along with good grades, she was a star soccer player and was on the school's first team to make it to the Division III NCAA tournament. Further, she registered to study at Case Western Reserve University School of Law.
WAGS Tracy Stevens Brad Stevens


India Smiling ! Heartwarming Photos To Change The Way You'll View Strangers Forever.
Lazy Girl's Guide To Housecleaning. 21 Tips And Tricks To Ease Your Cleaning Routine.
30+ Denim Styling Ideas From Celebrity Fashion To Elevate Your Style Quotient Instantly.


Eileen has been an active trade unionist in her home city of Liverpool since starting work in the Bryant & May Matchworks in Garston at the age of 16. She taught on TUC shops stewards courses for several years and also obtained a degree at Liverpool Polytechnic before becoming the Legal Officer of the GMB Liverpool, North Wales & Irish Region. After leaving the GMB Eileen joined the Shrewsbury 24 Campaign and became the (unpaid) Researcher. Whilst doing the research Eileen decided to return to study at the University of Liverpool for a Masters degree to gain a greater insight into the CCRC and miscarriages of justice.


Taxation and accounting is the pure business administrations and accounting subject in which the main focus of this subject is not the accounting focused subject in which the main focus is not the Balance sheet, income statement, Cashflows statement or the accounting made for the internal use is the cost accounting nor on the advanced accounting and the managerial and cost accounting. Taxation and Accounting is the subject in which the main focus him accounting is the calculation of the tax liabilities of the companies and the organization. Taxation and accounting is the subject in which the main focus of the accounting is the calculation of the exact tax returns accounting to the rules and regulations exactly according to the internal revenue code. Taxation and accounting is the subject which is law and acts based it is not only numerical based but also it is the numerical subject that cannot be changed at the any in any condition so it is very important to know that the maximum number of the student do same the mistakes and these mistakes are the mixing the other accounting with the taxation and accounting it cannot be ignored that there are lot of and different types of the accounting that is the main reason of the mixing of the taxation and accounting to the other accounting.
Taxation and accounting is the subject in which the students have to very careful when doing the Taxation and accounting because it is not the imagination based subject like philosophy but it is the pure logical subject that is based and follow the internal revenue code and make sure that the companies should calculate the accurate tax return exactly according to internal revenue code. Taxation and accounting is the subject in which the students cannot change anything or use alternative methods in order to solve the Taxation and accounting problems. It cannot be ignored that this is a very difficult subject for the students to manage the time for practicing the questions given by the professors of the Taxation and accounting and also memorize the rule and regulations and the internal revenue code. Taxation and accounting is the numerical subject that is practice demanding subject that is why the students of the Taxation and accounting require more and more time for the study and practicing but they can take help virtually they can take Online class help from Online class helper there are many Online class takers are also available that can help Taxation and accounting students.
Taxation and accounting is the practice demanding subject in which the student of the Taxation and accounting requires more time that is why they don't have time for the classes of the Taxation and accounting but they cannot also afford to miss the classes of the Taxation and accounting that is why they are so worried about it but they can pay someone to take the Taxation and accounting classes for them yes it is possible to hire someone to take the Taxation and accounting for them as a student of the Taxation and accounting if you are worried about the classes of the Taxation and accounting and have a question like may I pay someone to take my Taxation and accounting for me? But who to choose for online class help? ONLINE CLASS HERO is here we have our Taxation and accounting specialists and experts who can take your Taxation and accounting classes for you on your behalf so don't be stressed so come and reach us.


Before birth, the only way to know for sure whether a stillbirth has occurred is to determine if the fetus's heart is beating. This is often done using ultrasound,2 a type of imaging that projects harmless sound waves through the mother's body to create an image.
Norwitz, E., & Schorge, J. (2010). Obstetrics and gynecology at a glance – 3rd ed. Chichester, UK: John Wiley & Sons.
Kowaleski, J. (1997). State definitions and reporting requirements for live births, fetal deaths, and induced terminations of pregnancy – 1997 ed. Hyattsville, Maryland: National Center for Health Statistics.