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A: The table type isn’t recognized in flex. You need to define its behaviour in the user-defined datatype properties (not in a column property). Also, don’t forget to delete the table style provided by default by Flex Builder, it isn’t needed here, you can apply any other style you want. Search by Artist Sign up here to receive weekly updates from Dusted Recent Reviews Dusted Reviews At some point, the easy answer becomes the more complex answer. The easy answer is, of course, to say that Bevan’s as a singer and Bevan’s as a songwriter are like an electron and a proton: they are opposite forces, so they should cancel each other out. By this logic, Bevan’s great songs aren’t there because he’s a great singer. By the same logic, Bevan is no guitar god because he’s no guitar player. So here’s the more complex answer: Bevan’s songs come from what I’ll call an anti-traditional pop sensibility. They’re about a lot of things, but they avoid the usual songwriting clichés. Sometimes the clichés are farcical, but they include two: the refrain and the chorus. Bevan has an eye on songwriting that isn’t about distracting from the main course. He has shown that with songs like “Impressions,” which portrays human vanity, and “The Minister,” which is about the roles we play. He has done that with songs that are “songs of separation” (“Bad Girl”) and “of action” (“Fight Song”). He has done that with songs that can’t be summarized with a chorus or a refrain (“Wasted” and “A Song of Contention”). His songs can be “changed,” but they don’t seem to be. And finally, Bevan is a singer who embraces the music, the words and the space his songs inhabit. That’s not to say that his music is “no holds barred.” It’s the opposite. Sure, he’s one of the best wordsmiths around, but he’s not preaching to the converted with those words