text:
During National Adjunct Action Week, Feb. 23-27, union-represented adjuncts joined with actions that ranged from creative picketing to teach-ins to in-class explanations of adjunct issues. These were designed to call attention to and illustrate the stigma of being an adjunct and the commitment to changing adjuncts' status from second-class workers to well-respected, well-trained, well-paid workers with benefits and supportive working conditions.
On a much quieter note, and with the expectation that over time adjunct working conditions can and will be improved through various union and institutional initiatives, is there something that we (the ed-tech-for-adjunct-faculty fan club) can do to reduce the thorny prick of chronic daily irritants affecting part-time adjuncts–and their part-time students?
Picture a Dunkin' Donuts parking lot, perhaps at sunrise or dusk. Two drivers sitin two parked cars on opposite sides of the lot. The drivers happen to be part-time instructors at the same community college, where they teach different sections of the same course. It would be great if they knew they were both dealing with the same classroom challenge—but they don't: They're so pressed for time, they have to steal an hour in the parking lot to work undisturbed…even though talking to each other to resolve that common problem would help them get a lot more work done a lot more efficiently.
To me, this parking lot illustrates the challenges facing part-time students and part-time educators at community colleges: Commuters who travel back and forth between work, home, and school—in the case of adjuncts, between multiple campuses—and who often work in isolation from their peers.
National Adjunct Walkout Day, on Feb. 25, became Adjunct Action Week (Feb. 23-27 ). We heard activists demanding equal pay for equal work, decent benefits, job security, and supportive working conditions, including academic freedom, for contingent instructors. In the meantime, entrepreneurs and researchers have been quietly chipping away at smaller adjunct issues. Theirs isn't the galvanizing fight over unionizing adjuncts, but rather, the workday struggles of adjuncts. With roughly 70% of community college instructors falling into the adjunct camp (and 70% of community college students attending school part-time), there are means at our disposable to start alleviating these everyday stresses now.
Where does the trouble start? On-demand access to teaching resources is one place.
Let's look at technology. To do their jobs, contingent faculty rely primarily on learning management systems (LMS). But this technology often fails to meet instructor (and student) needs. For one thing, resources become confined within the LMS. Think of an adjunct who's teaching a Political Science 101 course at multiple colleges. Our part-time adjunct (Prof. PT) has digital assets ready to go: syllabus, teaching resources, reference materials.
The problem is, each college has its own LMS, which means Prof. PT can't easily transfer those materials between college "walled gardens"…so our Prof. PT has to do the same prep work all over again, creating a new collection of materials and "courseware" for each college at which s/he teaches. Adjunct professors are freelance education professionals and need to protect their intellectual property. If they don't, an institution can use or disseminate Prof. PT's courseware without his/her consent—simply because it's contained within the institution's LMS.
Adjuncts also lack the resources that facilitate faculty-student interaction. Chances are that our part-time adjunct doesn't have an on-campus office, which makes it pretty tough to schedule office hours with students. Yet the most important factor in student success, according to a 2013 report, is interaction with faculty. Limiting these opportunities hurts student performance.
In addition, adjuncts have limited access to two kinds of human resources: professional development support and peer communities. These are traditionally campus-based, but adjuncts are not based on campus—they're on the go and largely on their own when it comes to professional development. The Coalition on the Academic Workforce considers this reality "another indicator that institutions are not investing in maintaining and improving the quality of instruction," which—you guessed it—hits the neediest college students the hardest.
Researchers and startups such as Open Assembly are collaborating to figure out how technology can provide the greatest benefit and user experience for faculty and students. By sheer numbers the majority of these users are adjuncts and the non-traditional "new student majority." These companies are exploring tech solutions that use existing LMS technology more effectively by extending its capabilities.
Campus technology that first and foremost serves its core users, the students and instructors, helps everyone work more efficiently. For adjuncts teaching on multiple campuses or multiple courses within the same subject, user-focused tech reduces duplication of tasks—no more reinventing the curriculum wheel all over again. Serving teachers first also means recognizing their intellectual property and giving them control of the IP that they have created on their own time and their own dime. This can give adjunct faculty more agency and perhaps eventually, more academic freedom.
Community colleges also need to do a better job of fostering greater interaction between learners and educators, and between the instructors themselves. Since colleges don't provide enough private campus spaces for student-instructor conversations, how about creating private virtual spaces? Under the current professional, and even technological, structure of community colleges, adjuncts also have limited opportunities to connect and interact with colleagues. Since contingent faculty are not rooted on any one campus, they need an on-demand digital space in which they can share best practices with peers and colleagues, and social media isn't going to cut it. They need adjunct-managed, adjunct-centered peer communities.
If an institution provides the flexible technology that can handle these suggested solutions, along with support from campus administrators, colleges can achieve a high ROE: return on education. What does high ROE look like? For starters, increased student engagement and success; improved efficiency of instructors and instruction; lower turnover rates among contingent faculty. All of which drive down costs for institutions.
Maria Maisto, English instructor at Cuyahoga Community College, member of the MLA Committee on Academic Freedom and Professional Rights and Responsibilities, and president of the New Faculty Majority, which advocates on behalf of contingent faculty, has said that "authentic learning cannot take place in isolation." Teachers and students who participate in that learning must belong to a community.
When they don't belong to a community, they end up like our lonely drivers at the beginning of our story, on opposite sides of that empty, sprawling parking lot: struggling to work in the in-between hours they have, with too little time, and no one to reach out to in a pinch.
Textbook Bang for the Buck: Print, Digital, or Open?
With the fall semester upon us, students are already asking themselves which textbook option will best serve their learning needs and their wallets: is it print, digital, or open?
Because when it comes to shopping for course materials, students hold conflicting views about whether digital or print will give them more bang for their buck. That's according to a fall 2013 study by the National Association of College Stores (NACS), which surveyed 20,000 students on 20 college campuses about their textbook-buying habits.
On the 20 Million Minds blog, Phil Hill sums up the most surprising findings from the NACS report: A majority of students reported that, in the long run, their most affordable option was "to buy the print textbook and then resell it at the end of the term." Yet about 20 percent of students surveyed had rented or purchased a digital textbook because they thought digital was less expensive than print.
Edtech watcher Dean Florez has been calling out textbook publishers for their print offerings that can cost students more than $1,000 each semester. The industry's digital options also have left Florez pretty unimpressed; Amazon.com's Textbook Store, he writes, is charging for print versions of free, open-access texts and not providing much of a discount on the Kindle versions of popular texts, even the used copies.
As we've noted elsewhere on our blog, the affordability (or not) of course materials plays a huge role in whether a student will actually purchase the recommended or required textbooks, digital or print. Phil Hill notes the following patterns in the NACS survey (emphasis ours):
Price is the top factor in decision whether to acquire course materials
Price is the top factor in decision where to acquire course materials
Price is the top factor in decision on which format to choose for course materials
Students are becoming savvy shoppers, checking multiple purchasing channels for materials
Thanks to legislation that passed in 2012, college students in California now have access to very affordable textbooks via the California Open Online Library for Education (COOL4Ed). The state agreed to fund 50 open-source digital textbooks, targeted to lower-division courses in subjects including math, business, and art history. Students can download these books for free or pay $20 for hard copies.
Moreover, all of these new open textbooks are required to carry a Creative Commons license—which allows faculty at universities in other states to use these textbooks with their own students. The COOL4Ed collection also features free and open-access journals and open course materials (case studies, quizzes, and more).
The California Open Educational Resources Council, comprised of representatives from the state's three college systems (community colleges, the Cal State University, and the UC), has already established the next round of peer-review panels for open textbooks, with more to come this fall.
CEO Domi Enders Presents at EdLab Demo Night 4/1/14
Great presentation from @domienders on LTI compatible Open Assembly open content manager @EdLabTC tech demo night! — Paul Stengel (@PaulStengel) April 1, 2014
Do the Right Thing: Pay for Feedback
I am behind on my reading, I admit, and only just got to Hack Education's March 15 post "(How) Should Startups Compensate Schools and Teachers for their Feedback?". I do indeed have some experience with this question, having prototyped Open Assembly v1.0 with adjunct instructors in community colleges last summer.
Let me first say that having been an adjunct did not in any way make it easier for me to reach my former colleagues and interest them in our platform and what we're up to in general. It's a tough and lonely crowd.
But having been an adjunct, I did understand the necessity to offer proper incentive to get instructors to a) take the time to try out a new product in their classroom, even for just a few weeks, and b) complete a detailed feedback survey after the fact. After all, the first question is always, and rightfully, "What's in it for me?"
My very first prospect let me know that he considered testing, even so much as "glancing" at our interface, to be contributing to the IP of the company–for which he should be royally compensated and publicly recognized. Literally. For one crazy second, desperate for feedback and having no other prospects on the horizon that week, I actually considered giving him founder stock.
Equity? That would have been a better deal for me than for him. Equity in a startup is fool's gold to an instructor, whose horizon is only a semester long, one semester at a time.
Our product is specifically focused on addressing the needs of adjuncts (and their students). This means:
It must truly save them time in the exercise of their teaching activities or it's just bunk
It must not require any special training (our motto is "no manual required," the gold standard of a good UX/UI, and glaringly absent from most edtech offerings)
It must at least show that it has the potential of improving student engagement and learning outcomes
All of this is a tall order, and without the participation of and honest reviews from our prime end-user, the adjunct, there's no way we can come even close to creating a platform or service that they want and will use–so that their students also will benefit.
A choice between money or a seriously good piece of mobile hardware: yes, that's what it took to get my "pilot adjuncts" on board. It makes sense. After all, I was asking them to spend time to set up courses and share their valuable observations in an extensive survey. We offered a sum that was significant enough to attract interest, but not too big to break the (startup) bank.
As a result, we received crucial, detailed feedback that helped us understand where we were on the right track, and where we were not. Without that feedback, we would not be where we are today: gearing up to publicly release our beta (Open Assembly v2.0, currently in soft release) that so far delights our early (adjunct) adopters.
Adjuncts are the backbone of the college instructional corps, the majority teaching impacted introductory classes. Adjunct faculty now make up a majority of the higher education instructors nationwide, in a reversal from just a few decades ago. In some departments it's 100%, according to a 2013 research study, yet part-time faculty members make about one-fourth what a full-time faculty member gets paid per course, as reported in another 2008 study.
In a recent post Fabian Banga, (tenured) professor and department chair at Berkeley City College describes the financial and professional uncertainty overshadowing the lives of adjuncts: "…[L]ittle or no security of employment. Budget cuts affect the whole campus population but especially adjunct instructors. They are always the first to be cut when there is a reduction in the number of classes. They do not have the benefit of the academic freedom associated with tenure…[yet] they are also active in other curriculum development areas involving the adoption and assessment of materials and classes, the creation of OERs and the support and counselling of students. In a very cruel irony, many of them are very supportive of the department and do many extracurricular activities to gain the appreciation of students, of tenured professors and deans, with the hope of a security of employment that, in many cases, never materializes."
I truly feel that adjuncts are the unsung heroes of higher education, and very much underserved. Long-term subs in K-12 schools (7% nationwide) are treated and compensated far better, even receiving benefits.
The build-measure-learn feedback loop with educators is crucial to successful product development, "successful" meaning a product that actually addresses the needs of instructors and learners. Unless you're in edtech for the wrong reasons.
So do the right thing: 1) invite adjuncts and other instructors into your development process, and 2) compensate them properly. In the same way, pay teachers and schools for their invaluable feedback.


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A Year of Orenda, Authors: A-C, B, C, Contemporary Literature, Crime, Thrillers and Mystery
A Year of Orenda – Call Me Star Girl by Louise Beech
September 18, 2020 September 5, 2020 by Jen Lucas
Beech Week
Beech Week continues as I look back at my thoughts on Call Me Star Girl, Louise Beech's first full on foray into the world of crime fiction. Mandie read and reviewed the book earlier in the year and you can find her thoughts here. Always beautiful in her writing, there was a definite shift in this book, and yet it was still unmistakably a Louise Beech novel – the depth of engagement with the characters and the undertone of emotion present throughout. Here is what it was all about:
Source: Advance Reader Copy
Stirring up secrets can be deadly … especially if they're yours…
Pregnant Victoria Valbon was brutally murdered in an alley three weeks ago – and her killer hasn't been caught.
Tonight is Stella McKeever's final radio show. The theme is secrets. You tell her yours, and she'll share some of hers.
Stella might tell you about Tom, a boyfriend who likes to play games, about the mother who abandoned her, now back after fourteen years. She might tell you about the perfume bottle with the star-shaped stopper, or about her father …
What Stella really wants to know is more about the mysterious man calling the station … who says he knows who killed Victoria, and has proof.
Tonight is the night for secrets, and Stella wants to know everything…
With echoes of the Play Misty for Me, Call Me Star Girl is a taut, emotive and all-consuming psychological thriller that plays on our deepest fears, providing a stark reminder that stirring up dark secrets from the past can be deadly…
Orenda Bookshop
I have spent a long time thinking about this book. About what I want to say or how I can go about expressing my feelings having finished it. This isn't a bad thing – it's actually typically my default position when finishing a book by Louise Beech to be fair. There is something about her writing which does tend to leave a reader reeling at the end of the book, typically through a complete manipulation of your emotions, but also because of the beautiful and hypnotic use of language throughout. Call Me Star Girl manages all of this and more but I was left with a different kind of problem too. How to define the book to an audience yet to become acquainted.
The book is billed at the author's first thriller and, to a degree, I would agree that this is exactly what it is. It has all the hall marks of a typical psychological thriller – mystery, suspense, deep rooted secrets and a the slow manipulation of the reader as you start to come to grips with the inner reaches of the protagonist, Stella McKeever's, mind. You know from the very start that there is far more going on in this book that Stella's last night on her late night radio show, or a seeming fascination with the death of a young woman in the area a few weeks earlier. And it is this gradual realisation which dominates the book and keeps the reader enthralled until the end. What is Stella hiding, and what does Stella's mysterious midnight caller really know about what happened to Victoria Valbon.
The story is told from a dual timeline perspective – Stella's present mixed in amongst memories from her past, from the time when her mother abandoned her and left her with their neighbour. Stella and her mother a newly reunited, but why she has chosen now to reenter Stella's life and what it is that she really wants, is revealed only piecemeal and is quite shocking as the truth becomes apparent. And this is where Louise Beech's skill as a writer really shines through. She is a master at creating emotional tension and does this in abundance when she examines Stella's relationships with her mother, her caller and her boyfriend Tom. Stella is not a person who does things by halves, committing herself heart and soul, almost to the point of obsession, a fact captured perfectly on the page. I didn't especially warm to Stella, but I was completely invested in her story none the less.
So as much as this is, by strict definition, a thriller, it is so much more besides. I sometimes struggle when I hear things described as thrillers as with that title I expect high octane, heart pulsing action. This book does provide moments of tension, where you will perhaps hold your breath, as well as highly emotional scenes where you will be so caught up in what you are reading that all else around you will be completely blacked out, inconsequential.
For me this book was more emotional, suspenseful, taking a mystery, the murder of a young woman, and blending it seamlessly into one of Louise Beech's signature stories – one of emotional depth, full of beautiful, almost lyrical language, and laden with intrigue. The setting, with the action by and large taking place in the radio studio, adds an almost claustrophobic quality to the story. The pacing was perfect, the tone melancholy. All pieced together it made for yet another superb read from an author who I can only see continue to go from strength to strength.
Louise Beech is an exceptional literary talent, whose debut novel How To Be Brave was a Guardian Readers' Choice for 2015. The follow-up, The Mountain in My Shoe was shortlisted for Not the Booker Prize. Both of her previous books Maria in the Moon and The Lion Tamer Who Lost were widely reviewed, critically acclaimed and number-one bestsellers on Kindle. The Lion Tamer Who Lost was shortlisted for the RNA Most Popular Romantic Novel Award in 2019. Her short fiction has won the Glass Woman Prize, the Eric Hoffer Award for Prose, and the Aesthetica Creative Works competition, as well as shortlisting for the Bridport Prize twice. Louise lives with her husband on the outskirts of Hull, and loves her job as a Front of House Usher at Hull Truck Theatre, where her first play was performed in 2012.
Author Links: Twitter | Website
Books By Louise Beech
A Year of Orenda Crime Thriller Louise Beech Murder Mystery Orenda Books
Longstone by LJ Ross
The Fox by Sólveig Pálsdóttir trns by Quentin Bates
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redpajama_set_name: RedPajamaCommonCrawl


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APS Fisheries Management Workshop Helps African Nations
"Members of an Italian Navy Mobile Training Team conducted a fisheries management workshop for 15 sailors from Cape Verde, The Gambia, Liberia, Senegal, and Sierra Leone here, April 10, aboard USS Gunston Hall as part Africa Partnership Station West.
The sailors attended the four-day workshop for a better understanding of effective operational planning and maritime law based on the Italian and European Union legal systems.
"We do this through lectures that cover the achievement of maritime awareness, operational planning, and examples of how we manage patrol operations in the Italian navy and coast guard," said Italian Navy Lt. Giuseppe Adesso, training team leader for INMTT. "We are showing African partners a model of maritime safety and security that works for us [Italian Military]."
During the workshop the INMTT tailored their training toward the specific needs of each country.
"Each country has its own need for the fisheries management program. During our last training hub in Ghana, many of the sailors had a basic understanding of maritime safety and security. During this workshop we have some countries, like Liberia, that have only recently established a national coast guard and basically have no idea on fisheries management," said Adesso.
"It's a good thing we are here receiving this training," said Liberian Coast Guardsman Seaman Recruit Kpowu Mulbah. "The Armed Forces of Liberia was recently dissolved and reformed, and in that reformation, 50 soldiers were transferred to make up the Coast Guard. With the training we received here we will be able to go back and teach other coast guard members about protecting our territorial waters from illegal and unreported or unregulated fishing."
Mulbah said he believes his coast guard should see this as a continuing education.
"We are receiving a lot of knowledge from the APS instructors, but I believe ever year things change and we should try to learn more and I hope we can attend APS again next year."
Gunston Hall, a Whidbey Island class amphibious dock landing ship, is on a scheduled deployment in the 6th Fleet area of responsibility in support of APS West, an international initiative developed by Naval Forces Europe and Naval Forces Africa that aims to improve maritime safety and security in West and Central Africa."
Fonte: Digital Video & Imagery Distribution System – 12 de Abril de 2010
Publicado em Noticias | Etiquetas: África, Cursos/Workshops, Gestão, Itália, Noticias, Pescadores
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Utilising the latest laser technology to produce seamless edges so there is barely a visible joint between the kitchen unit fronts and the edge bands. Allied to this the LEICHT Contino Handleless kitchen concept provides sleek lines and also a safe environment for children.
This ultra-modern kitchen featuring high lacquered and high gloss acrylic finishes provides a sleek kitchen with very clean lines suitable for most spaces.


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Q: how to save multiple data in swift ios using alert textfield How would it be possible to save multiple data from ui alert textfield , i have made it possible to save one data to the database  with this line of code. as you notice there is just one textfield i added 2 textfield for saving other data like address , date but when i save the data only name that was saved. the part of the code is Add New Chore . and the function for saving it is on    func saveItemInLocalDB(groceryItem : Item) you can find it below.
let alert = UIAlertController(title: "Add New Chore", message: "", preferredStyle:
                    UIAlertControllerStyle.alert)

                alert.addTextField(configurationHandler: textFieldHandler)

import UIKit
    import CoreData
class GroceryViewController: UIViewController, UICollectionViewDelegate, UICollectionViewDataSource, UISearchBarDelegate, NSFetchedResultsControllerDelegate, GroceryItemCollectionViewCellDelegate {

    @IBOutlet var collectionView: UICollectionView!
    @IBOutlet weak var seeTask: UIButton!
    @IBOutlet weak var see: UIButton!
    @IBOutlet var searchBar: UISearchBar!
    let unselectedCellColor : UIColor = UIColor(red: 60/255, green: 78/255, blue: 127/255, alpha: 1.0)
    let selectedCellColor : UIColor = UIColor(red: 93/255, green: 173/255, blue: 195/255, alpha: 1.0)

    var searchBarActive : Bool?
    var textToSearch : String?
    var loggedInUserHouseNumber  : String?
    var loggedInUsername : String?
    open var context: NSManagedObjectContext!
    var fetchedResultsController: NSFetchedResultsController<GroceryItem>!
    let datePicker = UIDatePicker()

    let reuseIdentifier = "Cell"
    @IBAction func checkListButtonIsPressed(_ sender: Any) {
        let storyBoard : UIStoryboard = UIStoryboard(name: "Main", bundle:nil)
        let  cartVC = storyBoard.instantiateViewController(withIdentifier: "GroceryCheckListViewController") as! GroceryCheckListViewController
        self.navigationController?.pushViewController(cartVC, animated: true)
    }

    override func viewDidLoad() {
        super.viewDidLoad()

        loggedInUserHouseNumber =  (UserDefaults.standard.value(forKey: "loggedInUserHouseNumber")  as! String)
        loggedInUsername = (UserDefaults.standard.value(forKey: "loggedInUsername")  as! String)
//        likeLabel.transform = CGAffineTransform(rotationAngle: CGFloat(M_PI_2 * 3))
        var a =  loggedInUsername
        if ((a?.lowercased().range(of: "mother")) != nil) {
            seeTask.setTitle("Completed Tasks", for: .normal)
            print("true")

        } else {
            print("false")
             seeTask.setTitle("View Details",for: .normal)
//            self.collectionView.isd = true
        }
        searchBarActive = false
        textToSearch = nil

        self.navigationItem.title = "Chore List"

        self.navigationController?.navigationBar.isHidden = false

        self.searchBar.delegate = self

        self.setUpCollectionView()

        // Do any additional setup after loading the view.
    }

    func createDatePicker() {

    }

    func setUpCollectionView() {
        configureFetchedResultsController()

        do {
            try fetchedResultsController.performFetch()
        } catch {
            print("An error occurred")

        }
        self.collectionView.reloadData()
    }

    func configureFetchedResultsController() {

        self.fetchedResultsController =  nil

        let itemsFetchRequest = NSFetchRequest<GroceryItem>(entityName: "GroceryItem")
        let primarySortDescriptor = NSSortDescriptor(key: "name", ascending: true)
        // let secondarySortDescriptor = NSSortDescriptor(key: "commonName", ascending: true)

        if (textToSearch != nil) {
             itemsFetchRequest.predicate = NSPredicate(format: "name contains[c] %@ AND houseNo == %@",textToSearch!, loggedInUserHouseNumber!)
        } else {
             itemsFetchRequest.predicate = NSPredicate(format: "houseNo == %@",loggedInUserHouseNumber!)
        }

        itemsFetchRequest.sortDescriptors = [primarySortDescriptor]

        self.context = getContext()
        self.fetchedResultsController = NSFetchedResultsController<GroceryItem>(
            fetchRequest: itemsFetchRequest,
            managedObjectContext: getContext(),
            sectionNameKeyPath: nil,
            cacheName: nil)

        self.fetchedResultsController.delegate = self
    }

    func collectionView(_ collectionView: UICollectionView, numberOfItemsInSection section: Int) -> Int {
        if  self.searchBarActive! {
            if let sections = fetchedResultsController.sections {
                let currentSection = sections[section]
                return currentSection.numberOfObjects
            }
            return 0
        } else {
            if let sections = fetchedResultsController.sections {
                let currentSection = sections[section]
                return (currentSection.numberOfObjects + 1)
            }
            return 0
        }
    }

    func collectionView(_ collectionView: UICollectionView, cellForItemAt indexPath: IndexPath) -> UICollectionViewCell {

        if self.searchBarActive! {

            // get a reference to our storyboard cell
            let cell = collectionView.dequeueReusableCell(withReuseIdentifier: reuseIdentifier, for: indexPath as IndexPath) as! GroceryItemCollectionViewCell
            cell.buttonDelegate = self

            let item = fetchedResultsController.object(at: indexPath)

            cell.label.text = item.name
            cell.deleteButton.tag = indexPath.row

            if item.isSelected {
                cell.backgroundColor = selectedCellColor
            } else {
                cell.backgroundColor = unselectedCellColor
            }
            return cell

        } else {

            if indexPath.row == 0 {
                // get a reference to our storyboard cell
                let cell = collectionView.dequeueReusableCell(withReuseIdentifier: "AddNewCell", for: indexPath as IndexPath) as! AddNewCollectionViewCell
                cell.backgroundColor = unselectedCellColor // make cell more visible in our example project
                return cell
            } else {

                let index = IndexPath(row: (indexPath.row - 1), section: 0)

                let item = fetchedResultsController.object(at: index)

                // get a reference to our storyboard cell
                let cell = collectionView.dequeueReusableCell(withReuseIdentifier: reuseIdentifier, for: indexPath as IndexPath) as! GroceryItemCollectionViewCell
                cell.buttonDelegate = self
                cell.deleteButton.tag = indexPath.row - 1
                cell.label.text = item.name

                if item.isSelected {
                    cell.backgroundColor = selectedCellColor
                } else {
                    cell.backgroundColor = unselectedCellColor
                }
                return cell
            }
        }
    }

    func buttonTapped(cell: GroceryItemCollectionViewCell) {
        let index = IndexPath(row: (cell.deleteButton.tag), section: 0)
        self.context.delete(fetchedResultsController.object(at: index))
        self.setUpCollectionView()

    }

    func textFieldHandler(textField: UITextField!)
    {
        let label = UILabel(frame: CGRect(x: 0, y: 0, width: 50, height: 50))
        label.text = "Text"
        textField.placeholder = "Enter Chore Name"

        if (textField) != nil {
            print("true")

        }
    }
    func textFieldHandler1(textField: UITextField!)
    {
        let label = UILabel(frame: CGRect(x: 0, y: 0, width: 50, height: 50))
        label.text = "Text"
        textField.placeholder = "Enter Date"

        if (textField) != nil {
            print("true")

        }
    }

    func getContext () -> NSManagedObjectContext {
        let appDelegate = UIApplication.shared.delegate as! AppDelegate
        return appDelegate.persistentContainer.viewContext
    }

    func saveItemInLocalDB(groceryItem : Item) {
        let context = getContext()

        //retrieve the entity that we just created
        let entity =  NSEntityDescription.entity(forEntityName: "GroceryItem", in: context)

        let item = NSManagedObject(entity: entity!, insertInto: context)

        //set the entity values
        item.setValue(groceryItem.name, forKey: "name")
        item.setValue(false, forKey: "isSelected")
        item.setValue(loggedInUserHouseNumber, forKey: "houseNo")

        //save the object
        do {
            try context.save()
            print("ang item:", groceryItem.name)
            print("saved!")
        } catch let error as NSError  {
            print("Could not save \(error), \(error.userInfo)")
        } catch {

        }
    }

    func collectionView(_ collectionView: UICollectionView, didSelectItemAt indexPath: IndexPath) {
        // handle tap events
        print("You selected cell #\(indexPath.item)!")

        let cell = collectionView.cellForItem(at: indexPath)

        if self.searchBarActive! {

            let index = IndexPath(row: indexPath.row, section: 0)
            let item = fetchedResultsController.object(at: index)

            if item.isSelected {
                item.isSelected =  false
                cell?.backgroundColor = unselectedCellColor

            } else {
                item.isSelected = true
                cell?.backgroundColor = selectedCellColor
            }

            do {
                try context.save()
                print("saved!")
            } catch let error as NSError  {
                print("Could not save \(error), \(error.userInfo)")
            } catch {

            }

        } else {

            if indexPath.row == 0 {
                let alert = UIAlertController(title: "Add New Chore", message: "", preferredStyle:
                    UIAlertControllerStyle.alert)

                alert.addTextField(configurationHandler: textFieldHandler)
                alert.addTextField(configurationHandler: textFieldHandler1)

//                alert.addTextField(configurationHandler: { (textField) in
//                    textField.placeholder = "Enter Chore Name"
//                })

                let a =  loggedInUsername
                if ((a?.lowercased().range(of: "mother")) != nil) {
                print("true")
                alert.addAction(UIAlertAction(title: "OK", style: UIAlertActionStyle.default, handler:{ (UIAlertAction)in

                    let newItem : String = (alert.textFields?.first?.text)!
                    if !newItem.isEmpty {

                        let item = Item(name: newItem)
//                        let item2 = Item(name: newItem2)
                        self.saveItemInLocalDB(groceryItem: item!)

                        self.setUpCollectionView()

                    }
                }))
                self.present(alert, animated: true, completion:nil)

                } else {
                    let alertVC : UIAlertController = UIAlertController(title: "No Access", message: "please try again", preferredStyle: .alert)
                    alertVC.addAction(UIAlertAction(title: "Close", style: .default, handler: nil))
                    self.present(alertVC, animated: true, completion: nil)
                    print("false")

                }
            } else {

                 let index = IndexPath(row: (indexPath.row - 1), section: 0)
                let item = fetchedResultsController.object(at: index)

                if item.isSelected {
                    item.isSelected =  false
                    cell?.backgroundColor = unselectedCellColor

                } else {
                    item.isSelected = true
                    cell?.backgroundColor = selectedCellColor
                }

                do {
                    try context.save()
                    print("saved!")
                } catch let error as NSError  {
                    print("Could not save \(error), \(error.userInfo)")
                } catch {

                }
            }
        }
    }

    // This method updates filteredData based on the text in the Search Box
    func searchBar(_ searchBar: UISearchBar, textDidChange searchText: String) {
        if (searchBar.text?.isEmpty)!{
            searchBarActive =  false
            textToSearch = nil
        } else {
            searchBarActive = true
            textToSearch = searchText
        }
        self.setUpCollectionView()
    }

    func searchBarCancelButtonClicked(_ searchBar: UISearchBar) {
        self.searchBarActive =  false
        textToSearch = nil
        self.searchBar.text = ""
        self.view.endEditing(true)
        self.setUpCollectionView()
       // self.collectionView.reloadData()
    }

    func searchBarSearchButtonClicked(_ searchBar: UISearchBar) {
        self.searchBarActive =  true
        textToSearch = searchBar.text
        self.view.endEditing(true)
        self.setUpCollectionView()
       // self.collectionView.reloadData()
    }

    func searchBarTextDidEndEditing(_ searchBar: UISearchBar) {

        self.searchBar.setShowsCancelButton(false, animated: true)
        self.searchBarActive =  false
        textToSearch = nil
        self.setUpCollectionView()
       // self.collectionView.reloadData()
    }

    func searchBarTextDidBeginEditing(_ searchBar: UISearchBar) {
        self.searchBar.setShowsCancelButton(true, animated: true)
    }

    func controller(_ controller: NSFetchedResultsController<NSFetchRequestResult>, didChange anObject: Any, at indexPath: IndexPath?, for type: NSFetchedResultsChangeType, newIndexPath: IndexPath?) {
        switch (type) {
        case .insert:
            break;
        case .update:
            break;
        case .move:
            break;
        case .delete:
            break;
        }
    }

    }

A: As per my Understanding, You are trying to add more than one data with same fields.
So I guess you can use my approach of saving data
func saveDataInCoreData(nameOfGroccery:String){
    let context = (UIApplication.shared.delegate as! AppDelegate).persistentContainer.viewContext
    let groceryData = GroceryItem(context: context) // Link GroceryItem & Context
    groceryData.name = nameOfGroccery
    groceryData.isSelected = false
    groceryData.houseNo = loggedInUserHouseNumber
    (UIApplication.shared.delegate as! AppDelegate).saveContext()
}

This will save all your data at a time.
In Reference to you question In Comments
You can try following piece of logic
Step:1 Create a Variable at top
var strName:String = String()

Step:2 Modify your code like below
strName = (alert.textFields?.first?.text)!

                    if strName != ""{

                        self.saveDataInCoreData(nameOfGroccery: strName)
                    }

Code to Add TextField in Alert:
    //1. Create the alert controller.
    let alert = UIAlertController(title: "Add New Chore", message: "", preferredStyle: .alert)

    //2. Add the text field. You can configure it however you need.
    alert.addTextField { (textField) in
        textField.text = "Some default text"
    }

    // 3. Grab the value from the text field, and print it when the user clicks OK.
    alert.addAction(UIAlertAction(title: "OK", style: .default, handler: { [weak alert] (_) in
        let textField = alert?.textFields![0] // Force unwrapping because we know it exists.

        if textField?.text != ""{
            print("Text field: \(textField?.text!)")
            self.saveDataInCoreData(nameOfGroccery: textField?.text)
        }
    }))

    // 4. Present the alert.
    self.present(alert, animated: true, completion: nil)

redpajama_set_name: RedPajamaStackExchange


text:
Il Centro italiano di filatelia tematica (CIFT) è nato il 30 giugno 1963 a Salsomaggiore Terme su iniziativa alcuni filatelici interessati ad esposizioni di collezioni di filatelia tematica.

La filatelia tematica si serve di tutti gli elementi presenti su materiale filatelico postale (francobolli, annulli, interi postali, affrancature meccaniche, prove, etc.) per sviluppare un tema o raccontare una storia, senza limitazioni di tempo e di spazio e senza doversi preoccupare del concetto di completezza. Ciò permette di sviluppare la sensibilità e la creatività del collezionista e stimola una continua ricerca e documentazione del soggetto scelto dal collezionista filatelico.

Il nucleo originario di una decina di persone si ampliò rapidamente portando questa "nuova" filatelia alla ribalta del mondo filatelico nazionale. Il CIFT, nel 1999, è stata una delle prime associazioni ad ottenere iscrizione all'albo d'oro per le società. Le prime mostre tenutesi a Salsomaggiore Terme, Mogliano Veneto e Montecatini Terme, permisero alla filatelia tematica italiana di sviluppare un proprio modo originale di collezionare che si diffuse in Italia ed all'estero.

Il CIFT crebbe fino a diventare la più numerosa associazione filatelica di categoria in Italia e, in campo della filatelia telematica, una delle prime al mondo. Oggi conta circa 500 soci italiani e stranieri.

Il CIFT organizza oggi numerose manifestazioni e mette in palio numerosi premi. Due tra le ultime manifestazioni tematiche Internazionali sono state quella di Genova (1992) ed Italia (1998).

L'iscrizione al CIFT è aperta a tutti i collezionisti, italiani e stranieri, a circoli filatelici ed associazioni culturali. I soci sono divisi nelle seguenti categorie: ordinari, sostenitori, circoli ed associazioni, onorari. Hanno fatto parte, e fanno parte tuttora del CIFT, collezionisti premiati con medaglie d'oro nazionali ed internazionali, nonché vincitori di gran premi nazionali ed Internazionali; 14 suoi soci sono stati iscritti nell'albo d'oro della filatelia italiana.

Gruppi tematici
I gruppi tematici sono un'emanazione del CIFT e organizzano i soci suddividendoli per aree tematiche. Ogni gruppo è indipendente e permette un'auto organizzazione degli aderenti per la pianificazione delle mostre e la promozione dei singoli gruppi. I gruppi principali sono:

 archeologia e arte
 flora e fauna
 letteratura
 musica
 navi e navigazione
 religione
 scienza e tecnica
 vite e vino

Bibliografia
 Notiziario Tematico stampato a partire dagli anni '70.

Collegamenti esterni

Associazioni filatelico-postali

redpajama_set_name: RedPajamaWikipedia


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Fellow since
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Aaron Ganick is currently responsible for the SMART Home Business Unit in the Americas, including profit and loss responsibility, business strategy, strategic alliances, and resource planning. HE has been the CEO of ByteLight (Acquired by Acuity Brands, Inc.), a Boston University spin off company seeking to commercialize visible light communication (VLC) technology. Aaron brings with him multiple years of field experience in electrical and mechanical system design, and a master's degree specializing in technology commercialization and entrepreneurship. Since receiving his BS in Electrical Engineering at Boston University in 2010, he has worked to develop business strategies to leverage and commercialize the limitless benefits of solid state lighting. Since incorporation ByteLight has obtained angel investment, acceptance into Highland Capital's summer program, and is a current semi finalist in the 2011 Clean Tech Open. He is a 2012 Fellow in the Startup Leadership Program in Boston.
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Abhinav KhushrajSenior Venture Manager, New Business, Emerging MarketsPetasense
Abhinav is the Cofounder of Petasense - the Fitbit for industrial machines. He used to drive strategy for Nokia Messaging, a key service that is driving Nokia's transformation into a service company. As a business development manager,tunities in BRIC countries and driving operator and retail strategy. Prior to Nokia, Abhinav was an associ he was responsible for partnering with social networking & media companies, scouting for white space opporate at General Catalyst Partners assisting a portfolio company with growth strategy. He has consulting experience at Booz Allen Hamilton, a mobile startup in New Zealand and a European seafood company. He has spent 5 years at Citrix Systems as release program manager leading a team of over 60 for the Internet security business and was awarded the leadership and team achievement awards. Abhinav has an MBA from MIT Sloan School of Management where he worked on startup ideas in social media and mobile and was a semi-finalist in the MIT $100k competition. He also has a Master of Science degree in Computer Science from University of Florida and bachelors from BITS, Pilani. Besides establishing the Startup Leadership Program in Silicon Valley, he has also founded the Sparks New Ventures program to mentor, teach & fund student startups.
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This is deep. And simple. And a great question.
The question is; is the #Raiders pick supposed to be a 'big surprise' in the sense that it's totally left field or in the sense that it won't be leaked ahead of time?
So in terms of trade value, Frank Clark is worth like 5 Antonio Browns..
I'm telling you I trust my source. This ain't no smokescreen...The Cardinals are going to draft Nick Bosa 1st overall...Just wait on it ?
RT @grantcohn: Scot McCloughan just said on the radio he would draft Quinnen Williams over Nick Bosa.
RT @TampaBayTre: Todd McShay: "After Devin Bush and Devin White (both top half first rounders), there's probably not an off-ball LB you'd want to pick until the mid-third round."


text:
Mickey Newbury's "An American Trilogy" is an Indelible Musical Work
Trigger Reviews 24 Comments
"In America, one of the great things to do is listen to Mickey Newbury sing." –Waylon Jennings
It always seems like the most creative among us are never fit for the masses. Their gifts are too blinding, too rich for the wide palette, and so it takes an interpretation of their genius through others to find the broader audience their artistic expression deserves. These creative originators may not be fit for everyone, but for those tragic musical junkies who have built up such a tolerance to the interpretations and derivatives peddled on repeat radio for these very many years, seeking out and discovering the musical headwaters of a movement is like the discovery of untold wealth; a second chance to enjoy music like you're listening to it for the very first time.
Mickey Newbury would certainly qualify as one of these musical specimens, if not the ideal case study. Mickey was nothing short of a legend amongst his songwriting brethren, but was an artist whose own performance career was never graced with significant attention like many of the artists he lent his song material and inspiration to. A somewhat reclusive character who lived on a houseboat just outside of Nashville before moving away to Oregon to purposely get as far away from the music industry as possible, the case could be made that Mickey Newbury was one of the very first, if not the first true American country music "Outlaw." Mickey was the first to be released from his contract with the intrusive RCA label and win the stipulation to be able to produce his own albums or choose his own producer—years before Willie Nelson and Waylon Jennings would accomplish the same from the Nashville recording establishment, partly inspired by Newbury's story.
Just like Willie, Waylon, and Kris Kristofferson, Mickey Newbury was originally from Texas. Famous country DJ Ralph Emery calls Mickey the first "hippie cowboy." And though Willie Nelson's Phases and Stages from 1974 is usually given the credit of being one of country music's very first concept albums, Newbury's 1969 Looks Like Rain might be the more worthy candidate.
Looks Like Rain was the first installment in what would become an album trilogy from the gifted songwriter between 1969 and 1973, later to be christened An American Trilogy after arguably Newbury's most memorable song of the same name. Though Newbury was best known as an original songwriter, "An American Trilogy" was a medley that included parts of the Confederate Anthem "Dixie," the Bahamian lullaby "All My Trials," and the Union army's "Battle Hymn of the Republic." It became Newbury's signature performance piece, showcasing his incredibly powerful voice, and ability to conjure moments in music that haunt you well after the last refrain.
In 2011, the three albums of Looks Like Rain, 'Frisco Mabel Joy, and Heaven Help The Child, along with 15 demo songs, rarities, and unreleased recordings were assembled together in hopes of presenting Newbury's music to a new generation, and reminding an older generation of Newbury's contributions. When you think of "Outlaw" songwriters, you think of rough and tumble characters like Billy Joe Shaver or David Allan Coe, but Newbury and his American Trilogy has a sparse, almost genteel approach, leaning more on organ and strings than steel guitar, giving it a reverence and a lifting action like nothing else heard in country music, then or now.
The first album Looks Like Rain works like one continuous track, spelling out a very personal narrative, with wind chimes seamlessly creating a bed in between songs, pulling you into the album's depths; into the little proprietary world Mickey creates, and enhancing the entire experience beyond the allure of the individual songs themselves.
'Frisco Mabel Joy may be the most complete and accessible album of the collection, with the "An American Trilogy" opening song setting the mood. It loosely follows a young Southern man on a journey to find a lost love that traverses the American continent, and seems to tell the country's story along the way. "An American Trilogy" captures such an inspired performance, it deserves to be considered right beside the greatest American compositions of all time like "Ode To The Common Man" and "This Land Is Your Land." The album ends with the plaintive, but very enjoyable "How I Love Them Old Songs," marking one of the trilogy's most country compositions.
Heaven Help The Child illustrates the ever-present evolution, transformation, and insistence on growth and understanding that Mickey Newbury's life was an exemplar of, while once again highlighting his propensity to create a seamless album experience and memorable moments. All three albums were recorded at Cinderella Sound in Madison, Tennessee, so the albums all work seamlessly between each other as well. You don't skip around to select tracks on An American Trilogy. You push play and allow yourself to get lost in the music.
The American Trilogy era from Mickey Newbury's body of work has become an absolute wellspring of musical material for other artists, and one that helped lay the groundwork for country music's Outlaw era. Penning First Edition's (Kenny Rogers' first band) "Just Dropped In" is what made the world aware of Newbury, but after he released the first trilogy album Looks Like Rain, both David Allan Coe and Waylon Jennings covered the songs "San Francisco Maybel Joy" and "The 33rd of August." Johnny Cash and Bobby Bare both covered "I Don't Think Much About Her No More," from the trilogy's 2nd installment, and all of a sudden a who's who of performers in Nashville were listening to Newbury and trying to figure out how they could give their own unique take on his landmark recordings.
Tompall Glaser, and the venerable Bill Monroe would go on to cover Mickey's "How I Love Them Old Songs," Elvis Presley did his own version of "An American Trilogy," and the seemingly never-ending list of songwriting accolades for Newbury continues from there, including 8 cover and tribute albums released to him over the years.
Songwriters like to say that their songs are like children. If that is the case, Mickey Newbury is a father, grandfather, and great-grandfather many times over. His An American Trilogy is an indelible, essential work of the American songbook, from which many branches of American music sprout from.
Two guns up.
– – – – – – – – – – – – – – – – – – –
Mickey Newbury's An American Trilogy is available in a 4 CD box set, a 4 CD fold out with 24-page companion booklet, or in MP3 form. All tracks have been remastered from their original tapes. It includes a total of 41 songs.
Purchase An American Trilogy from Mickey Newbury
Preview & Purchase Tracks on Amazon
An American Trilogy, Bill Monroe, David Allan Coe, Elvis Presley, First Edition, Johnny Cash, Kenny Rogers, Mickey Mewbury, Tompall Glaser, Waylon Jennings
blockman
July 14, 2013	@ 5:53 pm
Great article! Truly underrated and important figure in the Outlaw movement. Every single thing he has released is excellent since day one.
Additional to the American Trilogy re-issues, 3 albums from the tail end of his career were reissued on his label Mountain Retreat for a reasonable price and still available.
July 15, 2013	@ 5:30 am
Thanks for the fine introduction to this man.
Do you know how and why he separated from the business?
did he tire of them, or not want to fit in?
re: "Trilogy"… Harry Belafonte did an exceptional rendition of the song "all my trials lord, soon be over"
He was such a HUGE songwriter in the mid-60s, having (I think) 4 number one hits across 4 charts at the same time. This gave him some serious clout and royalty money before he even began as a recording artist himself. He signed a deal and did an album with RCA (Harlequin Melodies) and was completely unhappy with how the album went and how things were being done, producers etc in that setting so with all his song writing royalties he purchased back all the rights to the album he did for RCA in 68 and began shopping around for labels that would give him 100% creative control of his music and being such an acclaimed songwriter at the time some labels were willing to give him that freedom and that lead to the three albums detailed above, his trilogy. That is my understanding of what went down I havent read his bio in awhile could be missing some details.
This is the second time this month I've seen someone mention Mickey Newbury. The first was Handsome Harry showing a picture of Mickey's grave on his Facebook page because Marty and the Superlatives were in Oregon for a concert on the 4th and went to visit.
I'll have to check this out. Thanks!
Laura Newbury-Cherry
It's always heartwarming to hear of someone remembering my daddy. Thank you for your kind words. All of you. I, personally, will be ever grateful for his reclusive nature and my parents' decision to move west. It meant we were given more of him than others in our similar situation. Growing up on a farm in Oregon was ideallic. We had a childhood to be proud of, for sure. As kids, we actually thought dad worked at the golf course. 😉
how lucky you were indeed to have such a talented father. Are you the baby of the record cover i wonder?
larry moore
July 18, 2013	@ 12:47 pm
Pat, she's the baby of the kids. Lord is she ever! But if you're talking about the picture on the back of one of the albums between Mickey and Susan, that's Chris, the oldest.
just listened to a ballad of his.
if it's ok, I will say, do yourself a favour and listen to this
http://www.youtube.com/watch?v=RmlODsJANVs
SyntheticPaper
July 15, 2013	@ 10:03 am
I heard a mention of him a few months back when I was watching a web show called "Oddity Archive". The episode was about tv sign offs and "An American Trilogy" was a song played during one of the sign offs. The guy who does the show spoke very highly of the song (he actually called it "eerie" I believe), so I made a point of checking it out at the time and I really liked it. Reading this much more about the artist was very interesting, great article. 🙂
one of my greatest regrets is that I didn't make the effort to go and see him when he toured Australia
Keith L.
After all, it was his train/pain songs that Jerry Jeff wrote about!
Great article!!! Always great just to see Mickey's name is print. Feels sometimes like he's being lost to the sands of time. A lot of people don't realize how important Newbury was in conditioning the ground for the whole artful songwriters' crop in Nashville. Kristofferson, Guy Clark, Townes, etc., all owed huge debts to Mickey. As a matter of fact, Mickey Newbury was one of the only other writers that Townes ever co-wrote with and considered an influence and inspiration. That should also speak well of Newbury's art.
Totally agreed. 'The Queen" which they wrote together is such a great track. The other one they did was a big hit for Buffy Saint-Marie im pretty sure (Mister, Cant You See)
Indeed! Mickey recorded that one, too, but I don't think it was on the original version of the "Harlequin Melodies" album. I believe it was released on the expanded edition sometime ago. I've only got a CD-R burn of it from a friend, and it's on there.
Footnote: apparently Townes also tried to write with Guy Clark, but it never really worked out. The fact he and Mickey could write such great tunes together should also speak well of Mr. Newbury's echelon among craft-conscious songwriters, and believe me, that's nothing to slight Guy Clark at all. It's just sometimes a matter of chemistry and having all the stars align at the right moment for a successful co-write. Shared vision helps, too. 🙂
It would be awesome to have an article profiling a few more of the relatively unknown but influential singer/songwriters from that time/scene like Richard Dobson for example who was one of Townes favourite writers and had cuts by Guy Clark and D.A C among others. Featured on Heartworn Highways too. Such a wealth of talent out there from times past that shouldnt be forgotten. Of course I realize you can't cover everybody all the time just throwing it out there!
It would be AWESOME to see something on Richard Dobson. He is still around and putting out great music. I got to meet and hang-out with this legend this past January at the Townes Wake in Galveston. A truly great artist and really cool guy, too. It'd be great to see something on him, Walter Hyatt and George Ensle, too, to name a few.
Oh yeah? Thats awesome! I knew he was still active, would love to see him. Living in Canada it would be hard but maybe I can bring him over myself…What a great writer though. Forever, For Always, For Certain and Piece of Wood and Steel get stuck playing through my head constantly.
It was released on the LP Mickey Newbury – Sings His Own on RCA I believe, 1971? Its pretty much the same track listing as Harlequin Melodies with a few tracklist changes (The Queen being one of them). But yeah Townes and Newbury are a great match. I think Newbury was the one who pushed Townes to head to Nashville and was even his manager of sorts at one point during the recordings of his first albums. Newbury has said Townes is one of his favourites too I believe.
You ever heard any of Newbury's stuff before his album? I managed to score a few of his 7″s from mid-late 60s and even then you could tell he definitely had something. A few of the tracks are him cutting other peoples songs or co-writes that arent as good but there is definitely some gems.
Ugh the last two comments were response to ce…I will figure this out oneday.
Annnnnnnnd I hate to be a nitpicker but theres a typo on Newbury two different times two different ways in two different paragraphs (4 and 5, Newberry and Newbery), not that its a big deal.
Jeffrey Pealo, Sr
Thank you for the wonderful article about Mickey . Mickey is my brother-law and I miss him very much. He made me feel very comfortable the first time I met him, I wish I had known him longer. He was truly a great song writer and singer as shown by the numerous people that have recorded his songs.
I remember seeing Mickey on Pop! Goes the Country on RFDTV awhile back. He sang American Trilogy on there. Thanks for more info on the guy!
August 6, 2013	@ 1:06 pm
Not to be too nitpicky, but Bill Monroe most certainly never recorded "How I Love Them Old Songs", or any other Mickey Newbury songs as far as can be ascertained. For some unexplainable reason, Allmusic lists the tune, which is track 04 on Bear Family's 1992 Tompall Glaser collection "The Outlaw" with the artist credited as "Tompall Glaser/Bill Monroe". Monroe is quite clearly not present on the recording, the session details of which are as follows:
ca. June 1977 Glaser Sound Studio, 916 9th Ave. South, Nashville, TN "" Tompall Glaser and His Outlaw Band (Tompall Glaser [vcl/gt], Mel Brown [gt], Jimmy Capps/Bill Sanford/Fred Newell [rh gt], Mac Guyden [slide gt], Ben Keith [dobro], Ted Reynolds [bass], Charlie Polk/Larrie Londin [drums], Red Young [el piano]. Producer: Jimmy Bowen) (courtesy of "Praguefranks's Country Music Discographies)
Not to take away from Mr. Newbury's songwriting credentials, which are legion, but misinformation spreads so quickly on the internet…
Ian Daniel Barnes
December 22, 2019	@ 10:08 pm
I spent a dark winter virtually alone in a small welding shop listening to the Frisco Mabel Joy album on repeat. It has so many layers to it both lyrically and musically you can find something new each time. I highly suggest taking a deep dive into that one.
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Greenpeace was taken aback by the actions of a kaumatua who turned the tables on oil company representatives at a meeting in Kaitaia. But the environmental group said the Maori elder's anger was understandable.
Selwyn Clarke, who fought in World War II in the 28th Maori Battalion, brought to an abrupt the meeting between iwi, community groups and officials from Statoil on Tuesday.
The company is owned by the Norwegian government and has consent to explore for deep sea oil in the Reinga Basin.
The runanga o Te Rarawa invited the company to attend the meeting and explain its plans.
Mike Smith represented Greenpeace and said the Maori elders were so upset they didn't bother with a powhiri and vented their anger at Statoil officials for three hours.
Mr Clarke, a veteran of the Bastion Point and Takahue occupations, then tipped over the officials' tables before the kaumatua left.
Mr Smith said seismic testing Statoil wants to do this summer has been shown to harm the hearing of whales, dolphins and fish; and whanau in the Far North don't want a bar of it.
The Norwegian government should be investing in clean energy projects, he said - not putting other countries' sea life and coastline at risk by looking for oil.
Mike Smith said people opposed exploration mainly for two reasons.
He said one was climate change, and people weren't stupid, they knew the burning of fossil fuel was contributing to changes in climate.
Mr Smith said the other thing was that people at the hui told Statoil that they were worried about the possibility of an oil spill.
He said people at the meeting told Statoil that kaimoana (seafood) had sustained locals for many years.
Mr Smith said food gathering from the sea was not recreational, but sometimes it could mean life or death, and whether or not children would be able to eat.


Ron Pokrasso has been an exhibiting artist and printmaker for more than 25 years. He received his M.F.A. degree from Pratt Institute in 1975 and has had over 40 solo exhibitions and more than 150 group shows. His work is in public, private and corporate collections throughout the U.S. and abroad and is represented by numerous galleries nationwide as well as being featured in several books.
For 11 years, Ron owned and directed Graphics Workshop (gifted to The College of Santa Fe in 1993). He is an originator of the printmaking event "Monothon" and has been an ardent supporter of arts programs for youth. His teaching experience includes universities, museums, public schools and private workshops, as well as Artist Residencies in the U.S., Scotland, Ireland and Italy. In 2000, Ron Pokrasso received the Mayor's Recognition Award for visual arts citing his artistic and educational contribution to the city of Santa Fe.


Fizz fanatics will soon be able to tap Burly Beverages' artisanal sodas and shrubs directly from the source, as founder Gabriel Aiello prepares to open a new shop for his popular local drink line in North Sacramento this May.
Aiello launched Burly Beverages at the end of 2015, producing his natural beverage syrups from the kitchen of midtown's Preservation and Co., then moved his operations to Del Paso Boulevard in November of last year. At the new locale across the street from Uptown Ballroom he has the space and opportunity to expand. And while his products can currently be purchased online and at local boutiques like Display: California and Boar Haus (they are also available at restaurants like Localis and Block Butcher Bar), Aiello says he wanted to open a shop that caters to cocktail and soda enthusiasts.
Aiello plans to offer his best-selling ginger beer on tap at the bar, as well as his popular sarsaparilla and root beer. His flavored shrubs—vinegar-based fruit syrups like the blood-orange-beet and grape-clove blends—will be mixed to order with Burly's house-made seltzer. In addition to his own sodas and shrubs, the store will also carry other classic and rare soda brands like Moxie (which originated in 1876), Cheerwine (which dates back to 1917), and other drinks like—Harry Potter fans rejoice—butterbeer.
The shop's menu will also feature floats made with local ice cream and gelato, as well as a slushy machine for frozen drinks using Burly Beverages' syrups. Along with the sippable inventory, the store will have cocktail equipment available—think copper mugs, swizzle sticks and ice hammers—as well as products from other local makers like Midtown Jerky and Preservation.
Burly Beverages' grand opening celebration is scheduled for the weekend of May 13 and 14, and will include drink tastings, food, live music and cocktails. Beginning the following Tuesday, May 16, Burly Beverages will be open to the public from 11 a.m.-6 p.m. Tuesday through Sunday.
Aiello, who was originally looking for a place in midtown, says he is enthusiastic about being a part of the Del Paso neighborhood's renaissance.
Burly Beverages will be open from 11 a.m.-6 p.m. Tuesday through Sunday. 2014 Del Paso Blvd. For information and updates on the grand opening, visit burlybeverages.com.


Residents in the Malvern Hills area are being reminded to ensure they are registered to vote ahead of the County Council elections on Thursday 4 May 2017.
Anyone who wants to vote in the forthcoming County Council elections must be on the Register of Electors. The electoral register is maintained and published by Malvern Hills District Council.
People that are already on the electoral register will receive a poll card before the election telling them where and when to vote. If you do not receive one you should contact electoral services on 01386 565437 or email elections@malvernhills.gov.uk. Alternatively you can visit the national vote registration website at www.gov.uk/register-to-vote.
If you are unable to make it to your local polling station, you can apply for a postal vote or to vote by proxy. A postal vote means that you receive your ballot paper by post before the election and return it the same way. A proxy vote allows you to appoint another person to vote on your behalf, either at a polling station or by post.
Application forms for voting by post or by proxy are available from www.malvernhills.gov.uk/elections.
Simon Mallinson, Returning Officer for Worcestershire County Council, said: "The County Council elections take place every 4 years and all our 57 seats are due to be contested on Thursday 4 May. This means residents have the opportunity to choose who they want to represent them as their local County Councillor.
"However, you can only have your say if you are registered to vote. The last date for registration is Thursday 13 April. If you have not received a poll card by Wednesday 5 April, please contact the electoral services office at Malvern Hills District Council so that you don't lose your right to vote."
For further information about the County Council elections, including how to become a County Councillor, go to www.worcestershire.gov.uk/elections.
Following the publication of the Notice of Election on Monday 20 March prospective candidates have up until 4pm on Tuesday 4 April to get their nomination papers submitted.


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"Frankenstreisand" - Review by Carol Moore
** Somewhat recommended ** The premise of Frankenstreisand was intriguing – Barbra Streisand as a mad scientist determined to clone her dog – but the execution just didn't measure up. In his post-opening speech, Hell in a Handbag Artistic Director David Cerda called it a fever-dream of a play. Some people loved the show, laughing at everything. I thought it was more like a bad acid trip. 2 Spotlights
Tyler Anthony Smith. who wrote Frankenstreisand also starred as the diva turned mad scientist, Dr. Barbra Frankenstreisand. For her first appearance, she wore a sparkly black peek-a-boo jumpsuit with a white Peter Pan collar (I remember seeing Streisand wear a similar outfit sometime in the 60s), a pink wig teased and styled into an iconic Dutch-boy bob and perfectly long nails.
Frankenstreisand hasn't sung on a stage in 27 years because she's too much of a perfectionist, so she's kind of verklempt tonight. Perched on a stool, she began her performance with several signature songs with clever new lyrics. She had the mannerisms – the hair pats, facial expressions and vocal inflections down pat. In between songs, she shared stories about her home, her underground shopping mall, her sadness at the death of her dog and the brand new lab next to the mall.
Mention of the lab led to an announcement - she was now Dr. Frankenstreisand and she was a scientist – and after a lot of research and experiments, she was ready to clone her dog. By the way, whenever the word clone was used there were flashing lights, an ominous ta-dum, and strangely reactive claw hands from her loyal assistant, Frau (Brian Shaw). Her excitable Hunchback (Dakota Hughes) was ready to help with the cloning.
In my opinion, the show fell apart when Judy Garland (Elizabeth Lesinski), singing about the rainbow, walked onstage, only to be thrown out by Dr. Frankenstreisand. She set Frau up to sing a song, then left the stage, only to reappear wearing a mesh top and shorts with an ugly permed wig (not one of Streisand's best looks).
Soon, the story was hijacked by celebrities like Celine Dion (Lesinski), Barry Gibb (Nicky Mendelsohn), her hubby, James Brolin (Lesinski). Then there was a strange little delivery guy – Walker/Chuck/Stefan (Ryan Oates). O (Robert Williams) just wanted an interview.
After Hunchback zapped the dead dog, Dr. Frankenstreisand added her own touch, and the dog (a darling little pup with scarily glowing green eyes by Jabberwocky Marionettes and manipulated beautifully by Hughes) came to life.
Red Line VR – the name is self-explanatory - is a bar across from the Red Line, with multiple virtual reality booths. The Raven Room is a separate room behind the bar, but with just a curtain in the doorway, sometimes bar noise can drown out the show. It's a nice little venue otherwise.
Hell in a Handbag's production of Frankenstreisand runs through October 31st in the Raven Room at Red Line VR, 4702 N. Ravenswood Avenue, Chicago. Limited street parking is available in this neighborhood.
Running time is 85 minutes, no intermission. Performances are Thursdays at 7:30 pm, Fridays and Saturdays at 9:15 pm. Note: no performances on Saturday, October 8th. There will be an additional performance on Halloween, Monday, October 31st at 7:30 pm. Tickets are $25 in advance, $30 at the door; $40 VIP/reserved seating with a drink ticket. FYI www.handbagproductions.org or www.buytickets.at/hellinahandbagproductions/749389


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Qigong is practiced by millions worldwide. Many do it for health, or to build strength and stamina, some for the profound meditative state you can achieve—but even fewer though do it with the intention of self-development. What is self-development? How is it applied to everyday life?
Like qigong, we can consider wine tasters as an example of a simple life science. With just a sip of wine, a wine taster's tongue can notice many delicate flavors, the boldness or acidity of specific wines. In many cases, this science may have taken years to develop. Like using the tongue as in wine tasting, an Herbalist that has studied qigong and developed their tongue to such a point that when they touch a green leaf to it, they know that this part of the plant will warm the kidney or cool the blood, relieve pain, even move qi up or down. This knowing of how plants affect the living being is much more accurate than a trial-and-error way. It requires dedication and consistent practice, but the rewards are monumental.
In a similar way, qigong can develop your being to a higher level. For example, Palms of Buddha Observing Images, a level one exercise, is very powerful in training the hands to feel and "see". This effect would greatly aid many healing modalities as well as being used in creativity for an artist or musician. Qigong is versatile in many walks of life.
The heart is a very powerful organ of the human being. How open and full of love would the heart be from a qigong practice and what might develop? That is for the student to learn as some things are meant to be experienced and discovered.
Many high level spiritual teachers have said that the Earth has moved forward into the fifth density. Can a qigong practice connect and move us toward this as well?
Mark Frighetti, a qigong teacher/practitioner, was introduced to qigong in 1998. He began teaching ZY Qigong in 2004 and is certified to teach levels 1, 2 and 3. He continues to learn from his teacher Grand Master Mintang Xu, the current linage holder of ZY Qigong, and stays connected to the qigong community. Frighetti teaches ZY qigong at Desert Milagros, in Tucson, from 7 to 8:30 p.m. every Thursday. Connect at 520-404-8745, QigongMark@yahoo.com or ZYQigongAZ.com.
Why do Veterans Love QIGONG?


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Author :S.P. Agrawal, Mithilesh Gupta, M.W.K. Sherwani, Meena Usmani
Categories: Education, Sociology
This book gives a comprehensive view of the development of adult, continuing and non formal education in India. It attempts of provide information on almost all aspects of adult education. While the First Chapter, besides defining the terms of adult, continuing and non formal education, traces the historical development, the Second Chapter is concerned with the National Policy on Adult Education formulated by the Central Government from time to time. The Third Chapter takes up the planning of the adult education trough Five Year Plans (from First to Ninth Plan). The fourth and Fifth Chapters are devoted to the recommendations of the Committees, Commissions, Working Groups and proceedings of the Central Advisory Board and major recommendations made by conferences on Education respectively. The other Chapters (Sixth, Seventh and Eighth) deal with the National Adult Education Programme (1978), the role of the universities and colleges in the development of the programme, importance of research, evaluation and monitoring in this field. The Ninth Chapter highlights the role of adult education in achieving the Women Equality and Empowerment. The last Chapter provides statistics on adult, continuing and non formal education.
S.P. Agrawal (b. 1929) was Director, National Social Science Documentation Centre, ICSSR, and Member Secretary, Indian Association of Social Science Institutions. He was also the Vice-Chairman of the Asia and Pacific Information Network in Social Sciences (APINESS). In 1988 he was awarded the degree of Doctor of Philosophy in Education (Honoris Causa) by International University Foundation. Presently, he is Member, Round Table on Research in Reading, IFLA, and Member, International Committee for Social Science Information and Documentation. He is also Member of Board of Studies of National Archives of India and Hindi Advisory Committee, Ministry of Coal, Government of India. Born and brought up in the cradle of freedom movement which he joined at the tender age of twelve, he gained an insight into political problems and 'developed a sense of responsibility which bore fruit as an information scientist committed to Gandhiji's philosophy and action-plan in the field and its social concept. He. has written extensively on various aspects of education, Indian Polity and library and information science.
Mithilesh Gupta (b. 1934) did her M.A. (Political Science) from Aligarh Muslim University, and B. Ed. From B.R. Ambedkar University, Agra. She was awarded Best Teacher Award by Indian Council of Child Education, New Delhi. She has been assisting S.P. Agrawal in his writing work, in Political Science and Education in particular since 1957.
M.W.K. Sherwani former Assistant Educational Adviser,Ministry of Human Resource Development, New Delhi.
Meena Usmani Centre for Womens Development Studies, New Delhi.


This vehicle is 1 entered from a collection of 14 cars entered into the auction from a private collector.
This car was purchased by the current owner for his extensive collection of vehicles and this 1968 model with a believed genuine mileage of 49,221 is absolutely immaculate.The 4.2ltr engine and bay are a sight to be seen, as it is a show piece of British engineering at its best. The body and paintwork of British Racing Green is immaculate. It has sumptuous red leather seats and carpets to match, also an amazing beautiful condition dash that is a mirror finish. The car as a whole has been very well looked after and is a stunning example of this, sort after and comfortable Jaguar. The automatic box is smooth and is a pleasure to drive, the car starts on the button as to be expected. It has all the usual refinements you would expect from a car of this quality, with beautiful wire wheels that really set off the car to its best. There is photographic evidence of a full back to basics renovation. This model was the forerunner to the XJ6, but had many similarities to the S Type, which was only produced for a short period of time. This car has benefited from a full service and is probably the best on the market, so get yourself one hell of a car. Just look at the car as it says it all.


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Q: Was including a keyword for events a mistake in C#? C# has events built in with a keyword. So if you want to declare an event, you write:
public event MyEventHandler SomethingHappened;

It is convenient, as it does allow you to add multiple event handlers, although it also prevents you from customising how events are handled, such as if you want to ensure that certain event handlers would always run in a certain order.
It seems that code would be more flexible if it was instead written as:
public Event<MyEventHandler> SomethingHappened = default;

Then you could also substitute in custom events. I also see no reason why the += operation couldn't still be used for adding new handlers. So does this simply decrease flexibility or does the keyword offer anything else?

A: The point of an event is that it doesn't allow outsiders to get or overwrite all event handlers. An event essentially a specialized kind of property, which has add/remove instead of get/set.
The version you show is the analog of an auto-property. If you're not content with the default implementation of add/remove, write your own.
public event EventHandler MyEvent {
   add { ... }
   remove { ... }
}

Events have nothing to do with allowing to add you multiple handlers, you can already do that using multicast delegates.

A: The main value of an event being a first class citizen in the .NET world (that I can think of) is that it is recognizable through reflection across language implementations. This allows one developer to create a full featured (possibly closed source) component and have another developer use it.
Events are mainly a component feature that allow interaction between pieces of software with minimum dependencies. This is also the reason for the standard handler prototype: (object sender, EventArgs e).
If this feels too restrictive and you do not care about unknown client or this scenario just does not apply to your situation, you can still create your own mechanism. But any developer that has to maintain your stuff after you will hate you for it.


It's not often I'm in the right place at the right time to see the birth of a new magazine. This time, I was. Shueisha's Cocohana launched in time for January 2012 and I just happened to be at a store that carried it when it hit the shelves.
Cocohana is being positioned as a Shoujo magazine for adults. As a result, the feeling is neither quite Josei, nor Shoujo, but some hybrid creation. From my perspective, it works.
To bump up its appeal to an adult audience, Volume 1 started right off with a few power names on the roster, Higashimura Akiko (known for Kuragehime, known here as Jellyfish Princess,) with "Kakukaku Shikajika," Yamashita Tomoko (Dining Bar Akira,) with a one-shot, "Biseinen," and is reprinting some previously serialized stories from Chorus magazine, including Haruno Nanae's classic Papa Told Me. (This gives me hope that, perhaps we'll see her Pieta re-serialized. This story is one of my favorite older Yuri series and as the Yuri audience now exists as a thing on its own, I think Pieta's time has come.) "Ashi Girl," by Morimoto Kozuek,o is the kind of fantastic mix of historical rewrite and female experience that I haven't seen since Akaishi Michiyo's Amakusa 1637. I'm looking forward to more of it.
artists, something I haven't seen any other magazine website include – despite the adoption of Twitter by many manga artists. The website also offers a personalized fortune-telling session, if you send your information in by form.
Scheduled for 28 volumes a year, Cocohana retails for 500 yen ($6.44 at time of writing,) for approximately 450 pages, which puts it at the high end of per-page cost for a manga magazine…another sign that this is for an older audience. Bolstering the idea that the magazine is Shoujo, not Josei, it comes with a giveaway – a small purse – but, with art by Anno Moyocco which confirms that the audience is adults. So far, in image and story, Cocohana is balanced perfectly to present a specific image.
This sounds amazing, really wish I could read Japanese now.
Is it available in English?!?
Japanese manga magazines, with the exception of Shonen Jump, are in Japanese only. You can order them through Amazon JP, BK1, J-List or Japanese bookstores (Sanseido and Kinokuniya are the two largest chains) in a city or a Mitsuwa mall near you.
The joy of reading Japanese manga magazines is one of the many reasons learning Japanese is so much fun!