text:
Q: SQL Temp Tables & Replication I have had an issue with our replication process and would like to salvage some data.  I have a process in place where I will connect to each subscriber before flagging them for reinitialization and I will run the below to pull any data they may have entered in during the "dark time".
I am pretty sure this will work in a vanilla palace.  What I am unsure of is whether the Global Temporary Table will persist through DB Replication.  To be clear, I am not trying to Replicate the TempTable, I just want to make sure it will still exist at the local DB after the Replication so I may run the INSERT from it.
Thoughts?
USE MemberCenteredPlan
-- Select Data from tblPLan
SELECT * INTO ##MyPlan
FROM tblPlan
WHERE PlanID = 407869
---------------------------
-- Run Replication Process
---------------------------
-- Insert Plan back into DB
INSERT INTO tblPlan
SELECT * FROM ##MyPlan
WHERE PlanID = 407869
-- Drop Global Temp Table
DROP TABLE ##MyPlan
---------------------------
-- Run Replication Process
---------------------------

A: I'm pretty sure that global temp tables only persist as long as at least one connection using them.  I personally wouldn't want to risk it without having a more solid backup in place,
even if it is just a table you create on a different database on the server, that you later drop.

redpajama_set_name: RedPajamaStackExchange


Seven human success factors are defined within an integrated framework for sustainable innovation which accelerate the collective potential to succeed.
These factors influence the task cohesion and social cohesion in teams, projects and groups.
What is a success marker?
Success literally means 'a measure or degree of succeeding' A success marker is an indicator about the chance that something will turn out well. Within the scope of a2Results success factors these markers are used to share personal perceptions and feelings.
The a2Results® Team app is a survey instrument that combines personal experience into a team profile. Thirty five markers help the team to obtain a coherent snapshot about the state of the team and to find interventions for improvement. This 'accelerates towards successful results'.


text:
V informačních technologiích se jako 8bitová označuje počítačová architektura, která v jednom okamžiku zpracovává informace kódované pomocí 8 bitů, tedy 8bitové bajty neboli oktety. Mikroprocesor (CPU) s daty pracuje pomocí 8bitových registrů a informace se přenáší po sběrnicích o šířce 8 bitů, tedy po osmi datových vodičích. Pro obsluhu dostatečného množství paměti však 8bitové počítače obvykle obsahují 16bitovou paměťovou sběrnici, která umožňuje adresovat paměť o maximální velikosti 64 kilobajtů.

8bitové počítače se vyráběly zejména v 70. a 80. letech 20. století, kdy se vedle 8bitových herních konzolí staly prvními běžně rozšířenými domácími počítači. Postupně je vystřídaly 16bitové počítače, pro které se vžilo označení osobní počítač (PC).

Procesory
Mezi 8bitové procesory patří:
 Intel 8008
 Intel 8080 (kompatibilní s 8008 na úrovni zdrojového kódu)
 Intel 8085 (binárně kompatibilní s 8080)
 Intel 8051 (Harvardská architektura)
 Zilog Z80 (binárně kompatibilní s 8080)
 Zilog Z180 (binárně kompatibilní se Z80)
 Zilog Z8
 Zilog eZ80 (binárně kompatibilní se Z80)
 Motorola 6800
 Motorola 6803
 Motorola 6809 (částečně kompatibilní s 6800)
 MOS Technology 6502
 Mikrokontrolér PIC (Microchip PIC10, PIC12, PIC16, PIC18)
 rodina mikrokontrolérů Atmel AVR
 mikrokontroléry řady NEC 78K0
 a další…

Externí odkazy

Informační technologie

redpajama_set_name: RedPajamaWikipedia


Happy Tuesday, friends! A few months ago, I shared my 5-minute face that was quick, easy and perfect for work. Since starting my senior year (EEK!), I have rediscovered the YouTube beauty community (check out my post on some of my favorite YouTubers here) and my interest in makeup and skincare products. Since this rediscovery I have made a conscious effort to use the makeup I have (and new products) and have been very pleased with the results. Today, I'm sharing my foundation routine that makes my skin look more even and glowy!
Every morning, I use both an under eye cream and a moisturizer with SPF before I apply my makeup. I am really enjoying using the Origins GinZeng Energizing Eye Cream and the philosophy Take a Deep Breath moisturizer with SPF 30. For more information on my current skincare routine, check out my full post here.
While my moisturizer sinks in, I make a cup of coffee, get dressed and get my backpack ready for the school day. Then I park myself in front of my mirror and start applying my makeup.
I start by pouring half of a dime-sized amount (specific, I know) of my Neutrogena Healthy Skin Foundation in shade 20 (Natural Ivory) onto the back of my hand and apply it to my face using my Real Techniques Foundation Brush (the orange brush in the above photo). In trying to find a link for this particular brush, I could only find the link for the set that this brush comes in, so you can check that out here. I dip the tip of the brush into the liquid and spread it out on one cheek in a ray-like pattern, if the "sun" was my nose. I bring it up to right under my eyelashes under my eye, onto my eyelids and also down my neck. You'll see throughout my routine that I make a point to include my neck in this process because I find that it helps make the entire makeup look seem more natural. Once I apply foundation all over my face, I like to go over my whole face with the foundation brush one more time to just double, triple check that it's all blended.
Next, it's time for concealer. A few weeks ago, I picked up the Urban Decay Naked Skin Concealer in the shade Light Neutral. This is my first product ever from Urban Decay and I will say that it did take me at least two weeks to learn how to best apply it. I also think that if I choose to repurchase this concealer after I use this tube up, I should opt for a different shade – this shade in particular runs on the yellow side. That being said, I have heard great things about a few Tarte Concealers as well as Benefit's Erase Paste, so I may pick one of those up next time. Anyway, I apply 3 dots of this concealer under each eye and onto any red blemishes and use the same Foundation Brush to tap the concealer into my skin. I also recommend using your finger to blend in concealer because the warmth of your fingers can help the concealer blend more naturally. Whichever way you choose to blend in your concealer, I highly, highly recommend using a tapping motion rather than swirling or buffing in. Tapping keeps your foundation, and other products you have any already applied, in place and helps avoid any streakiness.
Because I have combination-oily skin, my next step is to set my entire face with a powder. I received the Maybelline SuperStay Better Skin powder from Influenster over the summer and have really loved using it. I apply it all over my face using the ELF Complexion Brush starting in the oiliest parts of my face: forehead, T-zone and then my cheeks. I also, take this powder down onto my neck to help set any foundation on my neck and to also keep everything consistent with what's on my face.
This next step I have been forgetting some days, but will come back to do it if/when I remember. I take the Bare Minerals Concealer in Well-Rested and the Real Techniques Domed Eyeshadow Brush and dust this on my eyelids and use any remainder on the brush on the skin underneath my eyes.
I would like to preface the following blush section with this: I have no idea how to describe the motion with which I apply blush to my cheeks. Bear with me, I'll do the best I can. The blush that I've been using I've had for years so I would love recommendations for new blushes. I have been using a blush by American Beauty in the shade 04 Pink Bouquet (pictured above) and apply it with the Real Techniques Multi-Task brush. I dip the brush into the blush and flick the brush forward from the back part of my cheek. I then repeat this motion on the other cheek, but I do not dip the brush back in the product.
I then take the ELF Complexion brush and swipe it over both cheeks to diffuse the blush and blend everything together. I finish my look by adding two coats of my favorite mascara and a swipe of lipstick before heading out the door.
Now it's your turn to share: What are your go-to makeup products?


text:
Collier's, Volume 67
If everybody is going to play on the other side, it's too much to expect anyone to be enthusiastic about being "It" rypody is going to play - p y §
A Place Where "Reform" Can Begin
EWSPAPER headlines, and not all of them in New York or Chicago, talk about a condition in which the mild words "crime wave" scarcely fill the bill. Cartoonists in the press show Jesse James and Billy the Kid lamenting that they were born too soon. Meanwhile, Collier's repeats its old statement that there is hope for all of us, and for all our institutions, so long as spectacular crime is uncommon enough to hold the front page. We are waking up, however, to the fact that our system of punishing offenders against laws and morals is almost completely inefficient. Prisons, even the best of them, are still converting plants in which the chance offender is frequently turned into a permanent and professional criminal. Perhaps this is because common sense has been driven out by civilization's fear and wrath against the criminal. What do you mean by "prison reform"? Do you mean some kind of unjustified mercy or sentimental petting of those who strike at our safety? Prison reform means no such thing. The only safe way to approach the question is from the point of view of the welfare of society—not of the welfare of the criminal. For purposes of discussion, we are quite willing to stand upon society's interest in itself alone. Our own security tells us not to make a professional thief, gun fighter, or bandit out of any man who could instead be made a useful member of society. This is a consideration that has nothing to do with mercy, or tenderness, or sympathy, or benevolence to the offender himself. Would you like to know what men who run our prisons have to say on the subject? A few months ago there was held in Columbus, Ohio, a convention of the American Prison Association. This is not primarily an association for prison reform. It attracts many so-called hard-boiled wardens, sheriffs, and others who deal with criminals
day by day. Resolutions passed by the Committee on Probation and Parole embody, in part, the following: The American Prison Association, in its congress at Indianapolis in 1913, passed the following resolution: . The practical value of wise probation, parole, and indeterminate sentence laws as means of rescue, reformation, and rehabilitation has been established by their successful operation in several States, and the American Prison Association commits itself to earnest efforts to extend these laws by proper legislation so that they shall be general and harmonious in every jurisdiction.
The report goes on to say:
The employment of probation in lieu of imprisonment has passed beyond the experimental stage and has justified its right to a place in the correctional system.
The congress favors the clothing by statute of all criminal courts, both Federal and State, with the power to place offenders on probation.
The committee, recognizing that the success of parole depends on preparing the individual for it, wants a minimum standard of preparation to be based on these principles:
A physical examination, so that any bodily handicaps can be cured or alleviated. Cure of disease, in so far as possible. A mental examination, to determine the individual's accountability. Educational training for illiterates, to teach foreigners English and prepare for citizenship. Religious training. Industrial training, to prepare the individual to earn his own living. Provision of suitable work.
The most interesting reflection you can make upon these suggestions is that all of them could be applied by society to the training of its members before the criminal question had arisen at all. Special training in the relationship of the individual to society ought to come before prison gates close behind any man. Physical examinations, mental examinations, Americanization, religious training, vocational training—let's not put them off until they come into play in preparing a man to get out of jail.
Men or women interested in "reform"—here is a subject made to your hand.
- WINCHESTER REPEATING ARMS CO. • * - NEW HAVEN, CONN., U.S.A.
, TV/WC//E57% 1866
Fear by the Throat
By Albert Sidney Gregg
Illustrated by Edward Ryan
T was President Roosevell, I believe, who said that the best soldiers and the best men in any dangerous' work are those who know they are afraid and have nevertheless taught themselves, day after day, to master this fear. Here is a personal story told me in Ohio by great salesman, now vice president in charge of sales for one of the best known manufacturing companies in America:
HE principal thing I have had to overcome in my business life is fear. Nobody else knew I had a yellow streak, but I knew it, and the realization caused me untold shame. It did not come out in games and sports; I was not afraid of getting hurt in football, nor afraid to make a high dive from the bridge over the river, nor to walk by myself in the woods at night. But fear showed itself in me in another way. I could not meet people. Whenever it was necessary for the boys to approach the school authorities, or the big men in the town for anything, I always managed to get out by suggesting some luckless fellow, who could not, or would not, dodge the ordeal. My father got me a job in a big paint-supply house after I had been graduated from high school. I was eighteen. The shipping department was where I was supposed to earn my salary of ten dollars a week. My horizon, then, was bounded by quitting time at night, and pay day twice a month. Mother boarded me for three dollars a week, which left me with seven dollars a week, or fourteen dollars on each pay day to use as I pleased. In two years I had advanced to a better position, and was getting fifteen dollars a week. At twentyfour I was head shipper at twenty a week, and still boarding at home. Then I fell in love with the "best girl on earth" and after a desperate struggle with myself asked her to marry me. She was willing all right, but she wanted to know what she was getting. This girl of mine worked in an office downtown— sort of a bookkeeper and stenographer, and she had an eye to business. So after she had accepted me as her future husband she began to ask questions. It fairly took my breath away to hear her talk. She wound o by declaring that I was too smart to be wasting myself packing goods that other men sold—that I ought to be a salesman myself, and make four times as much as I was getting. The moment she said salesman I had a spasm. A salesman had to approach all kinds of men— rich, proud, and arrogant fellows, who loved to swear and call names—and my yellow streak put me out of that class entirely. I argued that men were needed to handle the goods as well as sell. Then she told me I was on the wrong side of the ledger. Not being educated in bookkeeping. I asked her to explain. goods and ship them, but that it took a "producer" to sel; them, and that without salesmen the business would go to smash. At length I understood that I was on the wrong side of the ledger because my job came ander the general head of expense which had to be met before there could be a profit. But in all her talk she did not get right down to ** seat of my trouble The idea of a man being afraid to approach another man never seemed to oe, her pretty head. After she had jolted me a ** about taking up salesmanship. I promised §. 1 would have a talk with our sales manager. o I made up my mind not to go near him. * ran along and the girl kept on asking ques
She told me any bonehead could pack the
The girl insisted that the job as salesman was my one big chance in life
tions and prodding me into action. I raised my head, opened my eyes, and began to look around me. As I looked along up the ladder of promotion I could not see anything ahead. My predecessors had escaped the packing and shipping room by becoming salesmen, or had transferred to another department with more of an outlet to it in the way of advancement and started all over again.
Master Yourself First HEN I examined the careers of the fellows who
had worked with me as packers, and who were now making big pay selling the goods. They
had attracted the attention of the sales manager,
and were not afraid to venture, so out they went, and made good. At least six of my comrades had become salesmen within three years, two had bought automobiles, and the rest were working their heads off for a big bonus at the end of the year so they too could get into the automobile brigade. And I was still carrying my lunch and riding on the street car ! I was beginning to get hot under the collar. I knew as much as any one of the six. In fact, I knew more, for none of them had been graduated from high school. I knew more about the various paints and accessories we sold, for those duffers came to me to get information they could use on the road. Even the sales manager called me in to help him prepare letters to ginger up the sales force, and more than once I supplied dope to the advertising manager. Why? Because it was my pride to know everything about the goods. I picked up my facts from men working in other departments and by reading advertising matter issued by other concerns, as well as our own house. I knew as much as any man on the road, but when I thought about the courage it took to approach the customers and tell them about the goods, I groaned and went on my plodding way. My weakness had become a sort of nightmare. I tried to get up courage and boldly ask for a place as salesman, but my heart would sink when I thought of saying anything to the sales manager. There was a library of books on salesmanship and business practice which the company had purchased for the use of the men, and I began borrowing and reading those books in hopes of finding some cure for my weakness. While I did not find just what I wanted at first, I found a great deal that helped me.
The books enabled me to systematize what I already knew and helped me to analyze myself. They showed me clearly that without courage to get out and battle with the world I would not achieve any marked success. I must learn to master myself before I could hope to master others. But how?
At length I came across a chapter in one of the books, in which the author affirmed that a man could strengthen any weakness of mind or disposition by invoking the aid of the subconscious mind through autosuggestion. I laughed at the very idea of a man working himself into a state of courage merely by the exercise of his mental powers, but I thought I would give it a trial. Of course I am not preaching that others should use this plan. I am merely telling what I did. I was so eager really to be master of myself that I would have accepted any kind of superstitious teaching to accomplish my purpose. ,
It took me a long time to get hold of the nature of suggestion, and when I at last saw it I was startled. It promised too much. In exercising suggestion you insist to yourself that you already possess the quality you want, making the assertion very specific, holding the thought steadily before the mind for a while and then letting it drop. It sounded positively silly for me to say deliberately to myself, "I am fearless when I approach other men," and keep on repeating that formula. The teaching was that the affirmation set in motion certain forces which would create the very quality I had claimed. The affirmation should be very positive, and be repeated many times each day. I noted that the book said the development of the desired quality by autosuggestion would not be sudden—it would be a gradual growth, and that I must exercise my courage as much as possible while practicing autosuggestion.
On the Road to Courage
AM uncertain even to this day whether autosuggestion helped me a great deal or not, but I know this: Soon after I began using it I reached a point where I was able to make up my mind to call on a neighbor and try to sell him some paint for interior decorating. I made the sale. It was a small order, but it gave me a start. But the big thing was the thrill of courage and confidence that stirred my heart. Calling on my neighbors and friends gave me the practice I needed. But presently my list ran out, and I had to think (Continued on page 26) the light reached its walls not more than fifty yards away; and they were gloomy, depressing walls, built up of a dark stone to a height of three stories, with closely shuttered windows, and a door within a deep-columned portico. Garth climbed the steps, found the bell handle, and rang. Without delay he heard, muffled by the heavy door, approaching footsteps. The door was swung wide. It was as if to the occupants of this remote house no terror could possibly come from the outside. The detective had a glimpse of a vast hall which borrowed a sort of radiance from a lighted inner room. He could see, therefore, only that a slender woman stood beyond the threshold. "What is it?" this woman said in a hurried, nervous voice. "You are," Garth asked, "Mr. Simon Allen's sister?" "Yes." "He was to have telephoned you about me. I am the detective he brought up from the city." She stared. "My brother hasn't telephoned. When he left early yesterday he said nothing about a detective." From the lighted room a frayed thread of a masculine voice issued. "Dora! Is that the doctor? Shut the door. There's a draft." Immediately after a telephone bell tinkled. "I daresay that's your brother now," Garth said. She nodded, and, after he had entered, closed the door and entered the lighted room. Garth took off his coat and hat and followed her. The room was square, with an abnormally high ceiling. Before a log fire, huddled in a great chair, was the figure of a man, aged and shrunken. Out of the wrinkled, yellow face, weak eyes blinked at the detective while Allen's sister talked at the telephone. She hung up. She turned. For the first time Garth saw her face, and he drew back, experiencing a great pity, at a loss for words. Suffering and fear, rather greater than Allen's, were stamped across the woman's features; and her hair, although she was probably younger than Allen, was streaked with gray. Her gestures, moreover, were uneven. She seemed perpetually to reach for objects which she never quite touched. She tried to smile, but Garth saw that she was on the point of tears. "It's all right," she said. "He had some trouble getting me. I am glad you have come." She walked closer. She clasped her hands, looking up at him. "Thank God you have come!" She was a trifle hysterical. The words poured from her as water tears through the abruptly broken sluice of a dam. "Company. A man! A detective, who isn't afraid! If I could only get away from this house! But I can't. You see that I can't." The old man's voice quavered across the room. "Don't see why everybody wants to get away from this house. I shan't go, at least. Helen means no harm. I was born here, and here I'll die." She whispered to Garth: "I'll have to leave just the same, or I shall go mad." "Why?" he asked softly. "Because," she answered with a desperate earnestness, "although no one will come to us here, we are never alone."
ET she could tell him no more than Allen had already done. It was only later, in fact, that he had an opportunity to question her; for the fact that Allen had, in his man's fashion, neglected to mention became evident—the house was without servants. In addition to caring for a helpless, exigent invalid, this worn and mentally harassed woman accomplished with her own hands what housework was done. No. She couldn't tell him anything beyond queer sounds, such as soft foot: falls, rappings, plaintive, scarcely heard cries; and twice the incredible vision her brother had described. "The house is full of her," she whispered. "Probably because while she lived in it she suffered so. According to that I should come back too. Only I don't want to die here. I shan't, either, if I can
The Haunted House
And Garth sensed an imprisonment, a frustation of hope, traceable to the old man who had lingered beyond anyone's imagining. He saw, too, later that evening, how great her sacrifice was. The doorbell rang, and she came back with a somber-faced man, about her own age, whom she introduced as the physician Allen had spoken of. His daily visits to care for the invalid, and to see the fading woman he so dearly loved, had impressed something of the house's atmosphere on his personality. "I hope you will succeed where I have failed, Mr. Garth," he said. "I am a man of science, and I have actually seen nothing here; but I have felt and I have heard; and I declare without reservation that there is something wrong with this house that I can neither understand nor cure." It depressed Garth to find a man as intelligent as the doctor convinced by the fancies of neurotic people. "Oh, I'll discover a cure somehow," he boasted. Yet, as the evening advanced, particularly after the doctor's departure, he found himself-unconsciously listening for the broad, lonely, and dark places of the crumbling mansion to make themselves audible. At ten o'clock Allen's sister went to a side table and lighted two candles. "I will show you your room," she said. "You will naturally want to sleep in their room." The old man stirred. All evening he had scarcely said anything. Now his voice came with a whine of reproof. "I don't think Helen will like strangers sleeping in her room." The unquestioning faith of the voice made Garth, for a moment, go cold. "He doesn't know what he's saying," the woman muttered in a hard voice. "Come!" Garth followed her through the hall; up a flight of broad stairs, peopled with grotesque shadows; down a bare and echoing corridor; and at last into a room. square like the one downstairs, and as broad and as high. Opposite the door a four-posted bedstead stood between two windows. The rest of the furniture was massive and old-fashioned, but, in this light, without much form. "I hope you will sleep well," the haggard woman said, and left him.
OR a long time, while he held aloft his candle, Garth stared at the bed where Allen's wife had died, if he was to believe Allen, of a passionate hatred of her surroundings. And just there, beyond the footboard, Allen declared she had materialized as if to im
press on its author the fact that such
mental dissatisfaction is immortal. Did one ever hear of such a thing? Allen was mad. He was impressing his madness on his sister. Those visions in the green moonlight could have existed only in Allen's morbid and guilty fancy, from which they had been projected to the frightened woman. Such logic was not convincing. It became less so when he had blown out the candle and had climbed into the huge, cold, and damp bed. Only enough light escaped from the strangled moon to make the heavy, ill-defined shadows restless. Garth grew restless in harmony. His task here was to wait; and, as the laggard minutes drifted on, that task became more difficult than any he had ever undertaken. After a long time he found himself listening with a strange acuteness. He was sure he had not heard anything, and yet he had reacted exactly as if he had. No, of course he had heard nothing— But that was something now. What was that? He sat upright, straining his ears.
He heard the persistent wind, but there
was something beyond that, something very far away, whose direction he could not determine, as if it came from space itself, actually from beyond the wind and the night. Now he began to understand. Some
one strayed with strange footfalls. But did this wayward pacing come from the house or outside? The sounds were so faint, so soft, so irregular, he couldn't be sure. He wanted to be sure. He lighted his candle. The shadows drew sullenly away. He sat for a long time, listening, while the footfalls continued; seemed, without increasing in physical pressure, to stray nearer; glided, at last, he was convinced, along the corridor toward his door. He slipped out of the bed, picked up his flashlight, and silently crossed the room. Abruptly he flung open the door and flashed his lamp. He stared. The corridor was empty, yet for a time he would have sworn that surreptitious feet glided through that emptiness. He caught his breath. He bent over, listening with a vast unbelief. A thin, desperate voice gathered itself in a cry, not loud, but more arresting than the shrillest scream. It wavered through the house. It fell away, as the groping feet ceased their seeking, into the smothering silence; and the silence became like a great weight on his soul.
FTER a moment a door nearly opposite opened. She stood there, holding a candle, a dressing gown drawn about her thin and shaking shoulders. The haggard fear in her eyes was as hard to face as that which he had just heard. "If only," she whispered, "you might have told me that you were awake, yet had noticed nothing." She paused, and bent forward, listening. He too grew rigid. Again the unseen feet strayed, close at hand, then far away, always seeking, at last drifting again into the night. Miss Allen set her candle on the floor, leaned against the door jamb, covered her face with her hands, and sobbed unevenly. "We are helpless," she said after a time. "It serves us right. We were not kind to her. I did not love her enough. I was jealous of my brother." To Garth her words suggested too much mental tragedy. He crossed the corridor, and put his hand on her shoulder. "We're not going to give way to anything like that," he said. "Get your clothes on. You'll guide me about this house. I'll search every rat hole until I find whoever or whatever made those sounds." His confidence, nevertheless, waned when he had dressed and had explored with her the decaying intricacies of the house. Great, empty, echoing rooms; endless attics, odorous with rotting lumber and the contents of ancient boxes and trunks—he searched them all and found nothing; and always in these gloomy places he had a feeling that Allen's sister and he did not walk alone. More than once he failed to conquer the impulse to glance back over his shoulder. - Each time she whispered: "You feel as if there were some one else!" Such sensations were new to him. He faced her in the lower hall at last, having found nothing, yet determined not to surrender. ... He put on his hat and coat. "I shall look for footprints outside." She got a cloak and accompanied him. "You will find nothing," she said. A light, wet snow fell. It wasn't deep enough to have obliterated any marks made at the time they had heard the footsteps. It offered, however, no record. Garth flashed his light here and there, at a loss. He saw a rough path which wandered from the side of the house between stripped underbrush, rattling in the wind. With a swift
nounced. She replied through chattering teeth: "Be—because Helen is there." - E realized there was no use questioning her further. He started down the path. After he had gone a few paces he understood, and he drew back, too, although momentarily, from this sanctuary in the heart of the underbrush. His light gleamed on strained, wet walls and a curved roof. Facing him was an iron door with a small grating. There were slight marks in the snow here, not, apparently, made by shoes, but light and incomplete depressions, as if something had passed this way with less than normal pressure. They urged him ahead. "It is locked," she whispered when they were at the black door. "The key is in the house." But he had placed his hand on the knob, and he turned it as a matter of course. The door swung open. The woman cried out. "I tell you it was locked," she whispered. "I tell you it is always locked, except when some one is taken in." "And after you had imagined this vision " he said. "Did you find it locked then 2'' Slowly she shook her head. "But it was not opened with the key," she whispered. "It is a large key. It is always kept on the shelf by my father's chair." He took a deep breath and stepped in. He felt himself bathed in a repellent and abhorrent atmosphere—bitter cold, damp to the point of moisture, redolent of earth and decayed vegetation. The room which he searched with his light was not large. One wall was given over to the entrance. In each of the three others were two deep, oblong niches. In each niche rested a stained metal coffin. From the roof, water gleamed in the rays of his lamp, dripping with a throbbing—rhythmical and persistent. "Which is hers?" he asked softly. She indicated the upper niche to the left. With a sense of intrusion he tiptoed closer and turned his light on the casket. The plate was tarnished and partly covered with mold. With difficulty he deciphered: "Helen Addison Allen, beloved wife of Simon Allen." Then the dates, and, ironically, it occurred to him, "Requiescat in Pace." "She was very young to die," he said wonderingly. "Too young," she whispered. "She might not have died if we hadn't kept her here. I wish to God I had been kinder to her." For the first time in this place he spoke aloud, boasting: "You can put it down, Miss Allen, that, no matter how she suffered, she has never come back. She has never left that box." The echoes from the vaulted roof jibed at him. She gasped out defensively: "Don't say such things in here. What is that? Let us go. Quick! Oh, my God! What is that?" At first he did not realize what had startled her; had made her go weak and white; had filled her with a far greater terror than she had yet confessed. There it was again. A series of dull raps, as nearly as he could analyze it, as if one struck metal with a muffled hammer. "Who's that?" he cried. Miss Allen cowered against the wall. The rapping ceased. For the first time Garth noticed a trapdoor in the center of the floor. "Where does that go?" he asked. (Continued on page 22)

redpajama_set_name: RedPajamaCommonCrawl


The Mutability of the Species…Is a theory I once had…That things change depending on their environment…The same creature can take on many appearances depending on where it is in the body…Like people, but a microcosm of that…(Michael Crichton's book about mini creatures one can only see under a microscope, personifies them, well, more like animalizes them, to reveal features…That the bugs in our environment are really from us? Is it a Liver fluke with egg as food source, or is it a human egg & sperm which is radically underdeveloped?
In any case, the Two Feathers black salve taken internally at 1/8 teaspoon a day for 7 days…The Two Feathers Black salve applied topically to a benign breast lump…For at least a 24 hour period…An Aches-Away Copper transdermal patch worn for 2 days…Apple Cider vinegar in some Natural spring water (Life brand)…a Raw plant based diet based on Helen Hecker's book 'My raw food diet secrets & cure'…& my husband's love, as well as the love & attention from many good friends all over this tiny green planet…DID manage to eject this disgusting creature from my uterus!!!
PLUS-The Two Feathers black salve, DID PULL up the LUMP to the surface of the skin…Did not hurt! No pain pills required!!!
I have to go to St. Joseph's Hospital in Toronto tomorrow at 3 pm (April 13th)in order to have a psychiatrist appointment to handle the trauma of the Division 13 policeman punching me in the eye this January 2016…Two cords behind my eye got detached which have to grow back…Also I have had a slight concussion-dizziness, walking into the right wall of my bedroom in the morning…That is better thank you UBER EATS!
Sorry I am off topic…Black salve worked, yay! More later, as more happens!
So is this Two Feathers B;ack Salve the deep salve you were going to try?
Do you now recommend the Two Feathers Black Salve over Zenith Herbal? Especially for problem leaving the body tumors?
I am just finishing Salving #6 and will need to start Salving #7 on Monday and still, neither tumor has come through the skin, even though the tumors are not deep by any means, just skin over them and sitting on bone, both of them. There are small clumps of white stuff on the eschar when they come out (especially armpit salvings) which I'm hoping is part of the tumor slowly being eaten away but the tumors are the same size so I may be kidding myself. I have been doing all the pricking with the sterile hypodermic needle also before applying. So let me know what you recommend now as I will need to find some of the Two Feathers if you think it is much better and worth the switch.
Please publish only my last name in your listimgs. Submission wouldn't take my nickname alone.
Hi…I changed your name to " Name protected"..,Or is your name in the post? Sorry…I don't know who you are to remove any mistake I have made?


NCVER collects data about the Australian vocational education and training (VET) sector through a number of statistical collections and surveys.
All collections meet the Australian Vocational Education and Training Management Information Statistical Standard (AVETMISS) and use the AVETMISS Validation Software to ensure consistent quality of data.
NCVER can also provide customised data and statistics. See our services and charges page for more information on how we can assist you.
VET statistics explained provides a summary of the Australian vocational education and training (VET) statistical collections and surveys and the purpose they serve for the Australian VET system. It covers the structure of the statistical collections and surveys, what each collection is, how they are compiled and what data is collected.
An accompanying page gives an overview of the statistical standard (AVETMISS) used to ensure the quality of data.
Both pages would be of interest to those with some understanding of the Australian VET system but who are seeking to further understand what is available in the Australian VET statistical collections and where to go to find specific information.
More information about accessing VET data is available.
Following a Review of the National Vocational Education and Training Provider Collection Data Requirements Policy, which outlines the data collection and submission requirements for total VET activity, Skills Ministers have agreed to a revised National VET Data Policy (the Policy).
To receive an email when new NCVER statistical publications are available, please subscribe to our free email alert service.


At Fresh Skin Canvas, we utilise the most advanced laser available to eliminate tattoos precisely without harming the surrounding skin. Our clinicians perform this procedure with the utmost care, providing you with great confidence and comfort. This treatment is performed on all skin types.
The QX Max Melbourne laser tattoos removes with specialised light which is absorbed by the tattoo ink. This rapid absorption of the laser energy causes the tattoo ink to break into tiny particles, which is then removed by the body's natural filtering system. It can remove both professional, amateur (homemade), traumatic and surgical tattoos.
The number of tattoo removal in Melbourne treatments depends on the volume, type, colour, and the depth of the ink within the dermal layers of the skin. Our Melbourne Tattoo removal clinicians will assess your individual needs and create a customised plan for you.
THINKING ABOUT HAVING YOUR TATTOO REMOVED?
At Fresh Skin Canvas our world class leading Medical Grade Fotona QX MAX laser system offers four wavelengths in one. Each different wavelength is preferentially attracted to different tattoo colours. With four wavelengths to choose from, this maximises the chance of removal for all tattoo colours on all skin types, previously considered impossible. The 532nm wavelength is attracted to red, tan, purple and orange, whilst the 1064nm is attracted to black, brown, dark blue, grey and yellow. The 585nm is attracted to sky blue and our 650nm attracted to green.
The QX MAX transmits extremely short energy pulses that cause tattoo pigments to break into smaller particles that are then removed by the body's own immune system and defence mechanisms.
Our Fotona QX MAX Q-Switched laser tattoo removal technology generates single nanosecond pulses, which are more efficient at removing pigment than other systems that use multiple-pulse technologies. Single pulses are not affected by the optical shielding phenomenon arising from pigment destruction.Consequently more and deeper lying structures can be reached and removed, and laser treatment efficacy and efficiency in a single session are significantly greater. This means we can treat you with much more power giving you a better quicker and safer result.
With Q-switched laser there is minimal heat energy transferred to the skin reducing the risk of damage to surrounding skin tissues, commonly known as Thermal Relaxation Time (TRT). Although Q-switched laser treatments require several sessions to successfully remove or fade a tattoo, they have the greatest chance of returning your skin to its previous state in comparison to the other methods of laser tattoo removal Melbourne.
Q-switched lasers allow for complete removal of the tattoo, or just to fade it so the area can be tattooed over for those wanting to change or update their tattoos.
The tattoo may appear slightly raised and frosted (white) in appearance immediately after the laser treatment, this is the skin's protective mechanism. The laser treatment creates enough of a response in the ink particles that the skin tries to shield itself from further destruction.
It usually takes 1 to 3 weeks to completely heal and the treated skin may appear like a wound/scab during this time. It is important not to pick at any scabs formed by the treatment and to keep the treated area out of direct sunlight, applying sunscreen where exposure cannot be avoided. We advise that you keep the area protected and apply Bepanthen ointment regularly to keep it moist until the scabs fall off.
Some patients may experience itching in the treatment area in the weeks after laser tattoo removal Melbourne, a mild hydrocortisone cream from your chemist can be applied to assist with this.
Generally multiple treatments are required for tattoo removal in Melbourne, although there are several elements that will determine how many treatments you require.
Multi-coloured and professional tattoos tend to be harder to remove than single coloured or amateur tattoos and therefore require more treatments. For complete removal, professional tattoos usually require approximately 6-10 sessions depending on the colours and your desired result.
To fade a tattoo (eg. for tattooing over with a new design), only a couple of sessions may be required. Treatments are generally performed at approximately 6 to 8 weeks apart. Enabling the body time to absorb and remove the tattoo pigment particles through the bodies natural defense mechanisms and lymphatic system between treatments. Fresh Skin Canvas use a World Class Laser System to treat this as safely as possible, reducing the number of treatments to obtain your desired result.
Tattooing methods have changed over time, with newer techniques often distributing more ink deeper in the skin.
Tattooing the skin can often lead to complications such as scarring and other changes in the tissue that make the tattoo more difficult to remove by laser. Where these complications exist, more sessions may be required to remove the tattoos. Other treatments may be used in conjunction with tattoo removal to assist in breaking down the existing scar tissue enabling the achievement of your desired result.
Tattoo ink is broken down by laser and taken away by the body's lymphatic and immune systems. Blood supply and lymphatic drainage vary with various body areas, with the greatest supply being the head/neck and upper body, and the least to the extremities. Therefore tattoos that are situated in areas of high blood supply and lymphatic drainage usually require fewer treatments to remove.
Tattoos that have been tattooed over tend to be more difficult to remove due to the increased amount of ink and number of colours.
Black and darker colours tend to be the most readily removed, with yellow, green, and multi-coloured tattoos possibly requiring more treatments to achieve your desired results.
From full back pieces, to neck, leg and arm sleeves or even the finest of line modifications.
Fresh Skin Canvas are passionate about helping you remove or fade those unwanted areas of body art you no longer identify with.
Tattoos with minimal ink or outlines only tend to be easier to remove and require fewer sessions than heavily inked and solid areas such as tribal tattoos.


This policy applies to all members of the University community, including, without limitation, Long Island University students, faculty, staff, administration or other employees or officers.
Long Island University is committed to access and excellence in education, including the highest standards of integrity in performance of its mission. To help identify and address concerns about possible legal or policy violations in University activities and operations including, but not limited to, finance, research, human resources, athletics, risk and safety and information technology, the University has developed a process for employees to report any good faith belief that a violation has occurred. A "good faith" belief means that the individual reporting alleged misconduct has an honest belief that the misconduct may have occurred and is aware of a fact which would support that belief, though it does not have to be a certainty. However, if an individual makes an allegation and either disregards or is purposefully ignorant to facts that would disprove the allegation, this is not good faith. Allegations may include requests by a supervisor or any University employee to violate a law or University policy. In general, allegations may also include bribery, theft, financial or accounting fraud, any false, erroneous or misleading statement made directly or indirectly to a student, prospective student, member of the public, accrediting agency or state or federal agency regarding (i) the nature of the University's educational programs, (ii) its financial charges, or (iii) the employability of its graduates, and any other types of corruption or acts which endanger the University public health or safety. University employees may not directly or indirectly use or attempt to use the official authority or influence of their positions or offices to interfere with the right of an individual to report any alleged inappropriate conduct.
These allegations may be made on an anonymous basis and, even if not on an anonymous basis, without fear of adverse action taken because of any good faith allegations. Reporting individuals who believe they have been subject to retaliation will have the ability to make a report to the University. However, raising allegations under this policy will not interfere with legitimate employment decisions and any report that proves to have been both unsubstantiated and made with malice or with knowledge of its falsity is not protected by this policy.
Any person who has a good faith belief that there has been any violations of law, breaches of policy or allegations of improper conduct pertaining to the University may file a report through EthicsPoint/NAVEX Global, which can be found on the the EthicsPoint site, or by calling the EthicsPoint/NAVEX Global toll free number, 866-295-3143. If a report is submitted through EthicsPoint/NAVEX Global (either in writing or via telephone), the allegations made in the report will be given careful consideration by appropriate University executive personnel. The report may be filed on an anonymous basis, but because investigators are unable to interview anonymous whistleblowers, it may be more difficult to evaluate the credibility of the allegations and therefore, less likely to permit an investigation to be initiated, continued or successfully completed.
Employees should not feel limited to making a report through EthicsPoint/NAVEX Global. A report by a University employee of suspected improper conduct described above may also be made to a University administrator who can properly address these concerns. In many cases the individual's supervisor is in the best position to report to. If an employee is not comfortable speaking with the supervisor or is not satisfied with the supervisor's response, the employee should take his or her concerns to a University officer whom the employee believes has the authority to review the alleged improper conduct on behalf of the University.
If an employee wishes to make a report against a University officer, the employee may contact the Chair of the Audit Committee of the Long Island University Board of Trustees by using EthicsPoint/NAVEX Global, or by sending an e-mail addressed to auditchair@liu.edu or by writing to Audit Committee Chair, c/o The Office of the University Counsel, Long Island University, 700 Northern Boulevard, Brookville, New York 11548. Written complaints made to the Audit Committee Chair will be delivered unopened to the Audit Chair, and complaints filed through EthicsPoint/NAVEX Global will not be viewable by any University employee. Although every effort will be made to maintain confidentiality, there can be no absolute guarantee of confidentiality. Therefore, in some cases, employees may wish to maintain anonymity.
Reports, even to supervisors, are encouraged to be made in writing so as to assure a clear understanding of the issues raised, but the report may be made orally. Whether a report is made on EthicsPoint/NAVEX Global or in person to a University supervisor, officer or the Audit Committee Chair, the report should be factual rather than speculative or conclusory, and contain as much specific information as possible to allow for proper assessment of the nature, extent and urgency of the investigation. Requests for confidentiality will be honored to the extent reasonable within the legitimate needs of law and the investigation.
Any individual who receives a report alleging suspected improper conduct must report the matter to the Office of the University Counsel (at 516-299-3665 or legaldept@liu.edu), except where a report of improper conduct involves an Officer of the University. If a matter involves a University Officer, the report must be directed to the Chair of the Audit Committee of the Long Island University Board of Trustees as outlined above. In such circumstance the Audit Committee is empowered to retain outside counsel or another appropriate investigator to investigate the claim. The individual should not engage in any investigation of the allegations. Rather, the Office of the University Counsel (or where appropriate, outside counsel) will make an initial inquiry to determine whether an investigation is appropriate, and the form that it should take. Some concerns may be resolved without the need for investigation. An investigation will begin if and only if the preliminary information establishes that the allegation, if true, demonstrates improper conduct and is either accompanied by information specific enough to be investigated, or has (or directly points to) corroborating evidence that can be pursued.
If continued, the investigation may consist of interviews, review of documents or a combination of the two, among other things. Those conducting the investigation will notify the reporting individual of their findings directly, or indirectly through EthicsPoint/NAVEX Global where appropriate, and prepare other reports as needed under the circumstances.


text:
Q: Javascript seven segment display not lighting up or responding to event clicks I'm brand new to coding, can anyone tell me whats wrong with my code? It's probably some mistake I made within the code, but I've been trying at it for a few hours now, any help would be appreciated!
var theCanvas = document.getElementById("theCanvas");
var c = theCanvas.getContext("2d");

/**
* Construct(x, y) Coordinate object representing a point on a 2D plane
*/
function Coord2D(x_ordinate, y_ordinate) {
 return {
 x : x_ordinate,
 y : y_ordinate
 };
}
theCanvas.center = new Coord2D(theCanvas.width/2, theCanvas.height/2);
var SEGMENT_LENGTH = 150;
var SEGMENT_BREADTH = 20;
var LEFT_X = theCanvas.center.x - SEGMENT_LENGTH/2;
var TOP_Y = theCanvas.center.y - SEGMENT_LENGTH/2 - SEGMENT_BREADTH;
var RIGHT_X = theCanvas.center.x + SEGMENT_LENGTH/2 - SEGMENT_BREADTH;
var BOTTOM_Y = theCanvas.center.y + SEGMENT_LENGTH/2 + SEGMENT_BREADTH;
var MIDBOT_Y = theCanvas.center.y - SEGMENT_BREADTH - SEGMENT_BREADTH;
var MID_Y = theCanvas.center.y ;
// A 2D Segment object: a rectangle representing one display segment
function Segment(x, y, isVertical) {
var segment = {
coord : new Coord2D(x, y),
width : SEGMENT_LENGTH,
height: SEGMENT_BREADTH,
isOn : false
};
if (isVertical) {
segment.width = SEGMENT_BREADTH;
segment.height = SEGMENT_LENGTH;
};
return segment;
};

function drawSegment(segment) {
c.fillStyle = 'lightgrey';
if (segment.isOn) {
c.fillStyle = 'red';
}
c.fillRect(segment.coord.x, segment.coord.y,
segment.width, segment.height);
};

var SevenSegDisplay = [
new Segment(LEFT_X, TOP_Y, false), //top segment A
new Segment(RIGHT_X, TOP_Y, true),  //right top vert segment B
new Segment(LEFT_X, MIDBOT_Y, true),  //left bot vert segment C
new Segment(LEFT_X, BOTTOM_Y, false),//bottom segment D
new Segment(RIGHT_X, MIDBOT_Y, true), //right bot vert segment E
new Segment(LEFT_X, TOP_Y, true),//left top vert segment F
new Segment(LEFT_X, MID_Y, false),//middle segment G
];

function drawSevenSegDisplay (key) {
    for(i=0;i<SevenSegDisplay.length;i++){
drawSegment(SevenSegDisplay[i]);
}if(SWITCH_ENCODING.hasOwnProperty(key)){
    var switches = SWITCH_ENCODING[key];
};
};
var ON = true;
var OFF = false;
// Map event.key onto an encoding of the switch state for each segment
var SWITCH_ENCODING = {
'Off' : [OFF,OFF,OFF,OFF,OFF,OFF,OFF],
'0' : [ ON, ON, ON, ON, ON, ON,OFF],
'1' : [ OFF, ON, ON, OFF, OFF, OFF,OFF],
'2' : [ ON, ON, OFF, ON, ON, OFF,ON],
'3' : [ ON, ON, ON, ON, OFF, OFF,ON],
'4' : [ OFF, ON, OFF, OFF, ON, ON,OFF],
'5' : [ ON, OFF, ON, ON, OFF, ON,ON],
'6' : [ ON, OFF, ON, ON, ON, ON,ON],
'7' : [ ON, ON, ON, OFF, OFF, OFF,OFF],
'8' : [ ON, ON, ON, ON, ON, ON,ON],
'9' : [ ON, ON, ON, OFF, OFF, ON,ON],}
document.onkeydown = drawSevenSegDisplay(Event.key);

A: It looks like you have to attach the event listener differently:
document.onkeydown = drawSevenSegDisplay(Event.key);
should be:
document.onkeydown = function(Event) { drawSevenSegDisplay(Event.key) };
Also, it looks like the drawSevenSegDisplay does draw the initial display, but does not update it afterwards. You'll want to create a new array of Segments for each number - for example, 0 would be:
[
    new Segment(LEFT_X, TOP_Y, false), //top segment A
    new Segment(RIGHT_X, TOP_Y, true),  //right top vert segment B
    new Segment(LEFT_X, MIDBOT_Y, true),  //left bot vert segment C
    new Segment(LEFT_X, BOTTOM_Y, false),//bottom segment D
    new Segment(RIGHT_X, MIDBOT_Y, true), //right bot vert segment E
    new Segment(LEFT_X, TOP_Y, true),//left top vert segment F
];

1 would be:
[
    new Segment(RIGHT_X, TOP_Y, true),  //right top vert segment B
    new Segment(RIGHT_X, MIDBOT_Y, true), //right bot vert segment E
];

an so on for the rest of the segments. Then, in the for loop, instead of iterating over the SevenSegDisplay array, you could iterate over the array corresponding to the appropriate number for each segment. If you're curious, here's a simple example for a seven-segment display.

// segments from  top->bottom left->right
//
//    _0_
//   |   |
//   1   2
//   |_3_|
//   |   |
//   4   5
//   |_6_|

var canvas = document.getElementById('canvas');
var context = canvas.getContext('2d');
var segmentDefinitions = [
  // this was simply easier to type
  [0, 1, 2, 4, 5, 6],          // 0
  [2, 5],                      // 1
  [0, 2, 3, 4, 6],             // 2
  [0, 2, 3, 5, 6],             // 3
  [1, 2, 3, 5],                // 4
  [0, 1, 3, 5, 6],             // 5
  [0, 1, 3, 4, 5, 6],          // 6
  [0, 2, 5],                   // 7
  [0, 1, 2, 3, 4, 5, 6],       // 8
  [0, 1, 2, 3, 5, 6],          // 9
];

// onkeydown expects a callback function
window.onkeydown = function(event) {
  var key = +event.key; // parse the key as a number
  if (key >=0 && key <= 9)
    drawNumber(key);
}

// fills the canvas with a white rectangle
function clearCanvas() {
  context.fillStyle = 'white';
  context.fillRect(0, 0, canvas.width, canvas.height);
}

// draws a number onto the canvas
function drawNumber(number) {
  clearCanvas();
  segmentDefinitions[number].forEach(drawSegment)
}

// draws a specific segment onto the canvas
function drawSegment(id) {
  var width = canvas.width;
  var height = canvas.height;
  var borderWidth = 20;
  context.fillStyle = 'red';

  switch(id) {
    case 0:
      context.fillRect(
        0, 0,
        width, borderWidth);
      break;
    case 1:
      context.fillRect(
        0, 0,
        borderWidth, height / 2);
      break;
    case 2:
      context.fillRect(
        width - borderWidth, 0,
        borderWidth, height/2);
      break;
    case 3:
      context.fillRect(
        0, height / 2,
        width, borderWidth);
      break;
    case 4:
      context.fillRect(
        0, height / 2,
        borderWidth, height/2);
      break;
    case 5:
      context.fillRect(
        width - borderWidth, height / 2,
        borderWidth, height/2);
      break;
    case 6:
      context.fillRect(
        0, height - borderWidth,
        width, borderWidth);
      break;
  }
}
<!DOCTYPE html>

  <meta charset="utf-8">
  <meta name="viewport" content="width=device-width">
  <title>Seven Segment Display</title>
  <canvas id="canvas" width="80" height="160"></canvas>

Click within this area to begin interacting with the canvas


Super Eagles defender Kenneth Omeruo has joined Turkish Super Lig side Kasimpasa on a season-long loan deal from English champions Chelsea.
The 21-year-old, who joined Chelsea in January 2012, spent last season on loan at English Championship side Middlesbrough, making 22 appearances.
"The target is to get a lot of playing time and help Kasimpasa achieve their objectives," he said.
"I've come to Turkey to reciprocate the club's determination to bring me here. I want to show the manager and the fans that they have made a good choice and I am completely focused on breaking into the squad and prove myself here.
"They have strong faith in my ability and I need to prove it. Last season was difficult because of injuries which affected me both at club and international level but I have put all that behind me.
"Kasimpasa approached Chelsea in a professional manner and the chance to test myself in a top league is very challenging."
Omeruo underwent his medical at Kasimpasa on Tuesday before signing a deal, which includes an option for the Turkish club to buy him at the end of the loan.
Is this the move in the right direction for the Nigeria international defender?


text:
Capturing the Architecture of American Agriculture—and a Passing Way of Life
For 45 Years, David Hanks Has Photographed Feed Mills in Every Season and Mood
A feed mill in Grant Mill, Michigan. Photo by David Hanks.
By David Hanks
"Why would anyone want to take pictures of a place like this?"
That's the question I often get when I enter the office of a feed mill or grain elevator, asking permission to make photographs on the property or inside the buildings.
Showing other photos that I've taken usually satisfies the operator that I'm not working for the local tax assessor or real estate agent, and I receive permission to proceed.
A mill in New Era, Michigan. Photo by David Hanks.
But it's a good question: Why do I keep up with this activity? What is the motivation? There is no coherent explanation except to say that it is something I feel must be done.
For more than 45 years, I've been taking pictures of feed mills and grain elevators in the towns of Michigan's Lower Peninsula. Here, the mills—plants that turn grain and other materials into food for farm animals—were once common enough to be taken for granted, even as they often provided a town landmark.
Now, changes in the scale and economics of the agricultural industry have made smaller mills and elevators redundant or inefficient. Some small town mills are still in operation—they might hang on by doing custom grinding (special mixes that depart from the standard recipe to treat particular conditions in animals), or selling lawn and garden products, or mixing for horses and other pets. One I visited even serves ostriches and llamas. But many smaller facilities have been replaced or engulfed by larger ones. Some have been torn down. Some have fallen into disrepair. A portion of history is slipping away.
A rare feature of the elevator at the Kellogg mills in Carson City is a set of spidery stairs, rather than a ladder, to the top of the elevator. Photo by David Hanks.
My documentation of this history began as a passing interest. I worked—I'm now retired—as an industrial photographer, filmmaker, and later, video producer. I have no personal connections to farming or milling. But I like to get outside, and I take pictures of everything that catches my eye. One day in the late 1960s I photographed a beautiful porcelain door knob on a dilapidated building. Later, I saw a similar building while out riding my bike, and I asked someone if she knew what it was. "Oh, that's the old feed mill," she told me, and added that it had closed a couple of years before. It was scheduled for demolition. "They're going to put some stores on the lot."
A few days later I drove back with camera gear.
I went to the library. I researched. I became a regular reader of Michigan Farmer magazine and the trade journals like the Milling Journal. I learned that 19th-century feed mills were almost always located alongside a railroad track, usually about seven or eight miles apart—about as far as a farmer would want to drive a team of horses on a hot summer day. My collection of pictures grew. I used photos on Google maps to follow train tracks to a likely mill. Often, I'd be directed to my next location by a conversation with a worker at the previous: "Have you photographed the mill in Jamestown? It's back off the road on 180th Street … Better hurry though, they're going to get rid of it pretty soon."
I now have thousands of images of feed mills and grain elevators. I came to know the workers at various places. The owner-operator of a mill in Carson City still remembers when, just a boy, he left a tank of slow-moving molasses unattended, and it overflowed to coat everything—floors, machinery, stored feed. (He had to clean up the mess.) I've been told many tales, many as humorous as this one, but also some that bordered on the tragic. These include workers' anxiety about a passing way of life, their resignation at changes, and their grief over accidents in mills and elevators—which are still more common than they should be.
An 1875 feed mill in Grand Ledge, Michigan, with its replacement in the background. Photo by David Hanks.
My photographer's eye remains fascinated by the variety of the structures. They're true examples of vernacular architecture. As they age and undergo repairs, they often acquire a mix of building materials. One section might include wood shiplap siding, wood clapboard siding, metal siding and a metal roof, corrugated steel, brick, tar paper, and even a car license plate used to patch a hole.
What they don't include is ornament or decoration. Except for the Christmas Stars. They are made on a framework of metal pipe with lightbulbs attached, mounted at the top of the tallest elevator. The lights are lit eight days before Christmas and are left on until New Year's Eve. (I have asked a number of times about the reason for the eight days, and the only answer I've gotten is "custom.") When I'm driving on an interstate in December, look out over the snow-covered farm fields, and see one of those stars glowing in the dark, I know that I am in the right place for me.
I've photographed mills in every season, even in the rain and snow. I focus most on light. At times, I prefer the low raking angle of a winter sun, which accentuates the deeply engraved textures of an old building. At times, I prefer to photograph when clouds veil the sun to produce a misty cloak over a sharply detailed structure. I capture the pattern of dappled sunlight coming through tree leaves, or I open a door to let bright outdoor light spill across the floor inside.
A contemporary grain mill in Sunfield, Michigan, built on the site of an older, smaller one. Photo by David Hanks.
One of my influences is the French photographer Eugène Atget, who took pictures of Paris and its environs in the late 19th and early 20th centuries, concentrating on old and medieval parts of the city. He eked out a precarious living by selling prints to artist supply shops (who resold them to painters as references for quaint old scenes). Atget "viewed the whole world as a finished work of art," said Berenice Abbott, the American artist who saved his negatives and helped his work achieve recognition, "and photography was just the act of pointing."
So many old mills have been waiting a long time for me to appreciate them. For my part, I'm only pointing.
Moonlight glints off the windows of an old mill in the cold night air. Photo by David Hanks.
David Hanks is a retired commercial photographer who now takes photographs as an avocation. He is the author of Down By The Feed Mill: The Past and Present of America's Feed Mills and Grain Elevators.
Primary Editor: Siobhan Phillips. Secondary Editor: Eryn Brown.
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agriculture, architecture, FARM, FARMING, FEED MILLS, GRAIN, GRAIN ELEVATORS, identities


Some things that drove me a little buggy this week.
I won't go into how we found camel crickets in my office, and I am not the type of person who will show pictures of them for shock value, but rest assured they are ugly and the size of a small European automobile. Fortunately, I have both a husband and one child up for the tasks of insect removal and abatement.
Beyond that, bugs of a different sort entered our lives recently.
Fairies. Whatever spectrum fairies are on, my daughter is right there while I'm light years away. My daughter floats about in whimsy while I practice the darker arts of humor and eating kale for my health.
I ran right to my shelf of parenting books and looked in all the tables of contents. Nothing. Not even in What to Expect When Your Chidren Come Home From School and Make Open-Ended Declarations That Give You Ulcers.
I was forced to wing it. "What bet was that?" I asked while thinking Please don't involve poop, underpants, sassing staff, eating scabs, Texas Holdem, or Bitcoin.
Are not most deeply-held belief systems easily tossed aside if wagers are lost?
Lo and behold, F's fairy DID respond in some fashion. I'm not exactly sure how. I wasn't paying very close attention. In my defense, it takes my daughter hours to get to the point of a story. Also, I was focused on choking down some kale.
And I thought that was it. You know, cute story.
Look, I'm not one who will yuck someone else's yum. You wanna wear butterfly wings and sparkly shoes and build gauzy forts for tea parties? Go nuts. But this? An ongoing pen-pal relationship where I'm essentially stomping around in a gleaming world of marshmallows and unfettered joy? This is like the tooth fairy on steroids – and I'm the parent who, when one of my boys lost his second or third tooth (again, I wasn't paying close attention), I completely forgot until three seconds before he woke up. I had no cash, so I scribbled "Way to lose a tooth! – T.F." on a Post-it and stuck it on a can of Sour Cream and Onion Pringles, which I put on the kitchen counter because I knew that shoving that under his pillow would completely ruin whatever magic was left in this dismal exchange.
This did not bode well for a penpal relationship. I hoped that she would forget. She often does because she is five and fives can lose interest in things.
Yesterday, she was pretty mopey in the morning, which is unlike her.
"Did you leave her a note?" I asked.
Inside was a cherry tomato.
"She didn't take the tomato!" My daughter was as dismayed as one can be.
Parenting achievement level: Three's Company.
So my daughter unwrapped a mini-Snickers – ok, where did that come from? – and put it in the box/portal to the fairy world.
Like any fair-to-middling mother, I ate the chocolate after she went to school and wrote back, grateful that she has not yet figured out how to do handwriting comparisons.
Not sure what the yellow blobs are there – I'm guessing she was doing some CSI-level work on this.
She was thrilled and wrote back immediately.
Can you guess which line she asked me to write because she was eating cherry tomatoes and didn't want to mess up the paper.?
I'm afraid this will continue for a while. Wish me luck in this strange new territory for me.
On to bees. This past week, my boys participated in the National Geographic Bee, a great activity for these two, the factoid version of hoarders. They really only learned about the competition a few weeks ago, and from what I can tell spent most of their time prepping by memorizing the Yakko's World song and singing it in slo-mo. For hours on end.
But apparently they've been actually prepping and got fairly far along in the school-wide competition, with one making it to the final round. Not bad for some fourth-grade first-timers.
We had the privilege of watching, and I have to say that if their nerves were half as racked as mine, they didn't show it. They were poised and present. We were proud parents.
They comported themselves with dignity, managed their disappointment, and said their only anger was that they have to wait a year to compete again.
And while I was more than expecting that they would go on to another activity, the very next night they were quizzing each other on world geography facts.
Talk about a bee in your bonnet!
I wish you well and I wish you a dearth of camel crickets.
But we do occasionally find ways to spend time together that don't involve me forcing everyone to do their chores.
Because I've announced my impending spontaneous combustion if I had to listen to one more kid show, we've all bonded over mini-marathons of various Food Network shows.
Sometimes it's Bobby Flay in some competition or another. That's pretty much what he does. The man has racked up thousands of hours of competition experience. It's a real edge.
I would not. That's why I'm not an Iron Chef. That and I can't cook geoduck 10 ways.
We noted Flay's ubiquitous presence on Food Network, his confidence, his ability to truly respect his opponents without knocking them down (unless they trashed talked him excessively, in which case he was more sensei than anything else.) It was fun to see how he put his "spin" on things and how he would take a mistake or a miscalculation and make it work.
We turned that into various life lessons, which, as I'm sure you can guess, went over with the kids like a big ol' plate of geoduck.
But some of the Lessons from Food Network stuck – mostly newly acquired vocabulary. My kids now critique their dinners. Terms like "Flavor profile" and "Balance" and "Presentation" and "Not enough acidity" all bandied about over their plates of chicken nuggets.
ordered a burger…with a fried egg on top.
He wanted to make pot roast. Pot. Roast.
He sautéed the carrots and celery and potatoes. He added the tomatoes.
We didn't have a dutch oven, so we used our crock pot. I worried about the timing so I gave it an extra 30 minutes which was, it turns out, was 30 minutes too long. I didn't say anything about how overdone the center was (I swear to God, I am the only person alive who can overcook something in the crockpot.) However, my husband, i.e., Sir Meats-a-Lot, mentioned gave a nice Ted Talk on the proper cooking time and temperature of all meats ever.
To celebrate Son's first real culinary achievement, he asked if we can eat while watching a movie, so we dined a la tv tray.
It's like the jury panel for Cannes, n'est-ce pas?
"You ok?" I asked. That's my "What's Wrong" 2.0. The old version too often glitched and got an automated "Nothing" response no matter how often or gently I input it.
"Yeah." He always says yeah. It takes a parent of unusual skill to determine the underlying meaning. In this case, his eye roll, sigh, and angry voice were subtle clues that actually was not ok.
I obviously have a participation trophy in parenting.
I waited. I've learned any noise from me will startle the confession back into its hidey-hole.
Sweet boy has been equating cooking, "real" cooking, with panicky, fast-paced, intense, beat-the-clock, chop-til-you-drop movements and unusual ingredients and stress.
He wanted to cook until he was exhausted and sweaty, then have us be his panel of judges.
I'm putting this here because I did not take a photo of the pot roast, or of us swimming. Or Bobby Flay. I suppose I should call this "food for thought." No?


To better understand who visits Nova Scotia and where they come from, our Marketing Strategy can be found here.
The market intelligence gathered by our research team can help you to better understand and target your activities for greater success.
Strategic tour operator partnerships are an important element of Nova Scotia's tourism marketing efforts and an effective way to develop and sell packaged Nova Scotia product. The main objective is to increase opportunities for the optimal delivery of Nova Scotia packaged product to the travel trade and consumer.


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The Javells was een Britse northern soul-band.

Geschiedenis
De band werd geleid door de Britse muzikant Stephen Jameson, die voorheen solo had opgenomen voor Pye Records en Dawn Records tijdens de jaren 1970 onder zijn eigen naam en de artiestennaam Nosmo King. Jameson was bekend door de single Teenage Love, waarvan de b-kant Goodbey Nothing to Say werd gekozen door Pye's Disco voor bewerking door The Javells.

Britse band


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When you already have the toaster and glasses, towels and linen, what better gift from your friends than a magnificent artwork.
Simply set up your wedding register at Handmark and we will provide cards to send out with your wedding invitations. We can feature your work of art on the cards if you have chosen it in advance. Alternatively, chose artwork at your leisure.
We invite you to contact us on 6223 7895 or email us to organise a consultation at our Hobart gallery.
Not sure what to buy that special person for their significant birthday or anniversary, or worse still, not sure what you would like for yours?
A Handmark gift voucher can solve all your problems. Also, this enables multiple friends to contribute, no matter where they live.
With the choice of designer jewellery, prints, paintings and objects, there is something special for everyone.


Number porting, or local number portability (LNP), is a system that lets you keep your phone numbers when you switch communication service providers. When the telephone industry was deregulated nearly 20 years ago, new service providers began popping up everywhere. This gave the consumer two very significant choices. Not only were they able to choose their service provider, but they were also able to choose pricing. However, the problem was that you couldn't keep your phone number. LNP changed that. However, we are here to help you navigate through all of it with ease.
Businesses and consumers alike are able to keep the same phone number for life if they choose to do so – It fosters the added convenience of providing the client or consumer, with additional choices of service providers; as well as the communications services they need and want.
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Increases competition throughout the industry – Better service quality ensues as a result, which in turn increases customer retention.
Number porting promotes additional benefits – This includes competitive pricing, improved services, and the more innovative visual attention software (VAS).
Location Routing Numbers or LRN's make LNP technically feasible because each switch is assigned a unique 10-digit phone telephone number. Using the LRN approach makes it possible to introduce number porting without having to make any changes to the PSTN. It also enables the routing paradigm to remain in the same location. In turn, the network is able to handle the LNP traffic by permitting the conversion to be more gradual in nature. This helps businesses get the right support.
Prior to the advent of number portability, the first six digits of all phone numbers identified the state where it was located, and the rate center it had been assigned to. It also identified who the service provider was and whether the carrier was wireless or wireline. Today, calls are routed by a telephone number's first 6 digits, i.e. the area code and prefix. This is the switch address that serves that particular number. When you port your phone number with Flowroute, the ported phone number is associated with a 10-digit LRN. Therefore, when someone calls your ported number, their call will be routed, based on those first 6 digits of the LRN.
We have already discussed how expensive and inconvenient it can be to change your telephone number, especially when it's your company's number. Flowroute provides number porting options for businesses, as well as individuals and families. With these options, you can switch from your existing phone company or service provider, keep the same phone numbers, and have immediate access to all of the call features that we provide.
If you are not already enjoying the benefits of a ported phone number and a VoIP service, it's time to contact us and speak with a service specialist about your many options. We will be happy to answer your questions and provide more information on number portability for your business phone lines.