text:
The Firescreen
An essential accessory to prevent from blaze, the "pare-étincelles" firescreen made of wire-mesh and set on bronze is typical of the Second Empire. It figures among the fireplace screens, also named fireguards. In 19th century, it was tirelessly recommended for the children and lady's safety, "whose clothes might so easily ignite".
Protecting from the projections of the fire, it has the advantage of being an elegant decoration element when the fire has died out, and allows to gaze at the roaring fire, not being dazzled. It figures more broadly among mantel ornaments, as well as andirons, spades and tongs, ashtrays, etc.
18th century princely furniture knows the carpeted firescreens, beautiful cloths set on wood frames, but those are still very flammable and hide the comforting show of fire burning in the hearth. Georges Jacob, the most renowned carpenter of the Grand Style, let several beautiful examples, including the screen of Marie-Antoinette's Room in the Petit Trianon.
In the beginning of 19th century, the carpeted firescreens still prevail, sometimes only humble canvas arranged by the stove like that of Delacroix's Corner of the Studio. The Directoire takes this decorative vocabulary again, imposing its more severe style, as testifies Marcion's firescreen, created in 1800 and held in the Compiègne Palace.
But the notion of "pare-étincelles" suddenly appears in the middle of 19th century, industrially fast-growing, about a new form of wire-meshed screens. An inventor named Delacour patents in 1854 his "anti-sparkle blind-screen", of uncoiling silk mesh, adapting to every fireplace. He gets a medal of honor for this invention in 1855, and supplies the Emperor Napoleon III. This event seems to open a new market and creates and emulation of creativeness about the "pare-étincelles".
On one side, the functional "pare-étincelles", a simple iron-mesh or pierced sheet metal, spreads in the public buildings, administrative offices and schools in particular, in the 1870 decade. On the other side, decorative models of "pare-étincelles" compete in luxury to seduce the customer and replace the carpeted screens. In 1862, Jules Vuigner, bronze maker, patents a "sort of mobile anti-sparkle fireguard", when in the meantime at the World's Fair of 1867 , Desbordes exhibits his lavish mantel ornaments of gilded bronze, varnished bronze and polished brass.
Private mansions get from now on modern "pare-étincelles" firescreens of bronze or brass, which styles evoke the splendor of Louis XV and Louis XVI's reigns. In the shape of a fan, or with baroque outlines, many display ornaments such as branches or symbols of love. The Hotel of Pontalba on the faubourg Saint-Honoré, housing nowadays the USA Embassy, held before 1876 a "pare-étincelles firescreen in gilded bronze and openwork". Such objects garnished before 1877 Cora Pearl's private mansion in Chaillot street, a notorious demi-mondaine close to Louis-Napoleon Bonaparte and the Duke of Morny.
The firecreen doesn't escape from the Art Nouveau esthetic experiments in Sérurier-Bovy's mind, which shows its importance in modern interiors.
Patents :
Catalogue des brevets d'invention, Paris, J. Tremblay, 1854, brevet du 10 décembre 1854.
Almanach impérial (...) présenté à Leurs Majestés, Paris, Guyot et Scribe, 1858.
Bulletin des lois de la République française, 1864, p. 199
Public equipment in « pare-étincelles » :
Ernest Bosc, Encyclopédie générale de l'architecte-ingénieur. Traité complet théorique et pratique du chauffage et de la ventilation des habitations particulières et des édifices publics, Paris, Morel, 1875.
Alexis Pothuau, Règlement sur l'ameublement des bureaux et postes divers des établissements de la marine, Paris, E Lacroix, 1878.
Sales displaying gilded bronze pare-étincelles firescreens between 1876 and 1911 :
Riff, Horsin Déon, Catalogue du riche mobilier et des objets d'art garnissant l'hôtel de Pontalba, vente 14-16 juin 1876.
Charles Mannheim, Catalogue des mobilier, argenterie, objets d'art et tableaux garnissant l'hôtel de Mlle Cora Pearl, vente 24-25 mai 1877.
Vignères, Estampes anciennes et modernes, chromolithographies, etc., vente 1er juin 1878.
E. Féral, Catalogue des tableaux anciens et modernes, objets d'art, (...) garnissant l'hôtel de feu M. Martin Coster, vente 10 mai 1880.
B. Lasquin, Beau mobilier, bronzes d'art de Bardedienne, émaux cloisonnés (…), vente 1892.
Charles Mannheim, Objets d'art et de curiosité, porcelaines et faïences (…), vente 1892.
A. Bloche, Catalogue d'un beau mobilier époques et styles Renaissance et XVIIIe siècle, bronzes d'art et d'ameublement (…), vente 1895.
Charles Mannheim, Catalogue des objets d'art et d'ameublement, porcelaines de Chine, objets variés (...) appartenant à monsieur le comte de S. R., vente 1911.
19th century firescreen, Louis XV style, gilded bronze, Marc Maison Gallery.
"Ears of wheat" furniture ensemble, from Marie-Antoinette's bedroom in the Petit Trianon, by Georges Jacob, featuring a firescreen, 1787.
The Princess's oval room, Hôtel de Soubise, 1735.
Eugène Delacroix, A corner of the studio, the wood stove, 1st half of 19th century, Louvre Museum, inv. RF2058.
Pierre-Benoît Marcion, Firescreen, 1800, palais de Compiègne.
Advertising for the invention patented on December 10th, 1854, in the 'Imperial Almanac', 1858.
Sketch of a firescreen, published in 1875. In pierced sheet metal, it is recommended for public schools by Ernest Bosc, Encyclopédie générale de l'architecte-ingénieur, Paris, Morel, 1875.
Reconstitution of the Hôtel de Varengeville in the Metropolitan Museum of Arts, New York. The Rocaille firescreen, wonderfully imitating the taste of 18th century, was shown by mistake and then withdrawn, being in fact a 19th century artefact.
Ornamentation detail of a firescreen in gilded bronze, 2nd half of 19th century.
Hôtel de Pontalba, Paris. This prestigious home held gilded bronze firescreens before 1876.
Cora Pearl, born Emma Élizabeth Crouch, a major Second Empire courtesan, had aquired gilded bronze firescreens for her Hôtel in Chaillot street.
Gustave Sérurier-Bovy, firescreen, 1905-1910, sheet metal, wrought iron, copper, Orsay Museum, inv. OAO1282.
Louis XVI style firescreen, second half of 19th century. Marc Maison Gallery.
Firescreen in the shape of a fan, second half of 19th century. Marc Maison Gallery.
Antique Louis XV style firescreen in gilt bronze with birds and music instruments decoration (ref.10466)
Antique Louis XV style gilt-bronze fire screen, 19th century, foliages and flowers decor (ref.10353)
Maison MARNYHAC (att. to) - Antique Chinese style firescreen in brown patina bronze, second half of the 19th century (ref.10497)
Beautiful antique Louis XV style firescreen in gilt bronze with olive branches (ref.11116)
Beautiful antique gilded bronze Napoleon III style firescreen with female Satyr and her child (ref.11012)


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From the following excerpt of the Mahabharata, it is clear that Draupadi rejected Karna based on his tribe.
"And (some amongst) those kings in exerting with swelling lips each according to his strength, education, skill, and energy,--to string that bow, were tossed on the ground and lay perfectly motionless for some time. Their strength spent and their crowns and garlands loosened from their persons, they began to pant for breath and their ambition of winning that fair maiden was cooled. Tossed by that tough bow, and their garlands and bracelets and other ornaments disordered, they began to utter exclamations of woe. And that assemblage of monarchs, their hope of obtaining Krishna gone, looked sad and woeful. And beholding the plight of those monarchs, Karna that foremost of all wielders of the bow went to where the bow was, and quickly raising it strung it and placed the arrows on the string. And beholding the son of Surya--Karna of the Suta tribe--like unto fire, or Soma, or Surya himself, resolved to shoot the mark, those foremost of bowmen--the sons of Pandu--regarded the mark as already shot and brought down upon the ground. But seeing Karna, Draupadi loudly said, 'I will not select a Suta for my lord.' Then Karna, laughing in vexation and casting glance at the Sun, threw aside the bow already drawn to a circle.
It is the wish of Draupadi to not select anyone she don't want to marry. But my doubt is that *why she rejected Karna based on his tribe? Are there any supporting slokas from scriptures supporting Draupadi's decision of denying Karna based on his tribe*?
According to the scriptures, the Pratiloma marriage, where the Varna of the wife is higher than that of the husband, is not considered as good.
An anuloma marriage is a marriage where the husband is from a higher class than the wife. The offspring of such a marriage belong to the mother's class. A pratiloma marriage is a marriage where the wife is from a higher class than the husband. Chandalas were born this way from brahmana women, Sutas from kshatriya women, Devalas from vaishya women, Pukkashas from kshatriya women and Magadhas from vaishya women. Chandalas are executioners, Sutas charioteers, Devalas guards, Pukkashas hunters and Magadhas bards. Chandalas should live outside the villages and should not touch those belonging to any other class.
So, a Suta, who is born of such a proscribed marriage, is basically considered as out of the 4-caste system.
10.27. These six (Pratilomas) beget similar races (varna) on women of their own (caste), they (also) produce (the like) with females of their mother's caste (gati), and with females (of) higher ones.
So, basically a Suta, a Chandala etc are not considered as persons of pure origin according to the scriptures.
As you can see that the Purana even states to consider the Suta as an outcaste and that he should live outside the village.
So, in a society, where people were strictly following such rules of Varnas, we can not blame a Kshatriya woman for not accepting a Suta man as her husband. It is quite natural and in accordance with scriptural rules as well.
Also note that Draupadi was not aware of the true story of Karna's birth and she knew him to be a Suta Putra only.
Short answer - Shastras do not recommend Kshatriya-woman marrying Suta-man. So she rejected him.
According to public knowledge, Karna was a Suta-putra.. except Kunti none else knew his real birth as son of Surya deva with Kunti solely through use of Durvasa mantra (without any physical union).
Suta means charioteer. Charioteer's post is in between fighting (kshatriya's duty) and advising (brahamana's duty) - He must be strong enough to withstand arrows. He must also know the battlefield well enough to navigate it, his master's strengths/weakness as well as enemy's strengths/weakness in order to provide advice to both defend and attack. He need not be strong enough to hurl arrows, nor he have enough knowledge to actually teach his master how to shoot them.
So, the best qualified man for this job should have both kshatriya blood and brahmana blood mixed - Yes, DNA does imbibe traits in birth. Scientifically proven, at least in animals (Race-winning horses and fight-winning bulls are set out to stud/mate). Which means his father and mother must be of those 2 different varnas.
Now, going by common sense, one may argue that it can either be Brahmana-father + Kshatriya-mother, or other way Kshatriya-father + Brahamana-mother. But, that is not the case. A Brahmana's son usually won't have the necessary strength/valor to face arrows in battlefield, and his knowledge/penance are better suited to serve the country in other areas.
Now, going by shastras, the first type (Brahmana-father + Kshatriya-mother) is anuloma (recommended) according to shastra. Second type (Kshatriya-father + Brahamana-mother) is Pratiloma (not-recommended) according to shastra. The son born from this particular pratiloma combination is called Suta.
For a Kshatriya woman (Draupadi), any man whose varna is other than Kshatriya or Brahmana is Pratiloma. Since Karna was the son of a Suta, society thought and expected him to belong to same Suta varna. So she rejected him.
Common folk might cry - 'But VALOR ALONE is important' - first of all, right after this swayamvara, everyone tried to fight Arjuna and lost, including Karna. He also lost to Arjuna during Virata battle. So, compared to Arjuna, he is not better. Secondly, if only valor was important, Ravana had super-valor, but do we praise him ? No, we burn his effigy even now couple days back at Ram Lila. So valor alone is not important.
These same common folk, when afflicted with a strange disease, will accept a medicine when given by a doctor, but will reject the same medicine if the man was a bank-clerk or police-constable. Ask them why they do so? Whatever reason they give, give the same reason back to them.
They will cry back 'Taking medicine is not same as Shooting rotating fish. Medicine from untrusted man involves risk to me. Whereas Karna shooting a random fish does not risk Draupadi. So she can safely check his valor without risk. Then she can check his character (Ravana's example). If both are good, then she can marry.'.
Alright. How would you go about checking someone's character, or checking medicine's side-effects ? Live with him for a while like modern-day girlfriend. This is same as taking a little bit of the medicine. Both are out of question because of risk involved.
So we are left with - asking other people who we trust about the person and about the medicine. Now we reach the crux of the matter.
She did ask elders and trusted people and knowledge books and research papers and experts in the field (aka RISHIS). They all said, THERE WILL MOST LIKELY BE SIDE-EFFECTS. Marrying a SUTA-man is not recommended for KSHATRIYA-woman. Valor alone is NOT ENOUGH. Even if the valor existed for the period of the rotating-fish test, we don't know if it will last a lifetime. Same could be said for Arjuna, but character and Compatibility and Force of dynasty/blood-line are also important. Even if a person wanted to do a bad thing, the fear of bringing shame to the name of his long-chain of famous forefathers will prevent him doing it. This shame may not be there for a man who didn't have illustrious ancestry.
Why, even today, they set race-winning horses or bulls to stud, so that the DNA can propagate. Why not let a random horse or bull mate, and then check whether the calf can run/fight - depending ONLY on valor, not on birth? Because they don't wan't to risk it. And even if the horse/bull could fight, we don't know how long it might last.
Because Birth is tied very closely with valor, character, demeanor, compatibility etc. - all points that even a modern day bride looks for in a man. If a person has just one aspect, but you can't be sure of all, then you likely won't risk it.
Valor alone is not enough. Valor displayed in a tournament alone is not enough. Arjuna already had the victory over Drupada under his belt, when he was just a student. Karna had no such victories. Draupadi didn't know if Arjuna was alive, nor if he would even show up to swayamvara. Still, according to elders, Karna was a known risk, because he was Suta-putra and it was Pratiloma. Hence she would rather wait for an unknown variable than accept a known risk. Even if some other Suta, or Vaishya had taken up the bow, she would have still said no. Even if it was some other Kshatriya, with proven valor, she could have still said no based on her personal preference. Some might say 'she only gave the excuse of Suta-putra, when in fact, she didn't like him. If some other varna man proved his valor, she might have accepted him' - Both reasons are perfectly acceptable to shastra - whether rejecting based on varna or personal preference. Her personal preference was Arjuna (she was literally born from sacrificial fire directly at age of 16 to marry Arjuna). But the man who won the tournament was a Brahmana, which is Anuloma, hence she married even without bothering if it was Arjuna or not, later only they all found out the Brahmana was actually Arjuna.
Your whole question is based on a false premise. According to the Critical Edition of the Mahābhārata, Draupadī did not reject Karṇa based on his (birth-based) varṇa or profession. In fact, Karṇa participated in the svayaṃvara just like the other assembled kṣatriya kings, then attempted to string the bow and failed at it.
Vaishampayana said, 'When all the kings gave up attempting to string the bow, the great-souled Jishnu arose from among the Brahmanas. On seeing Partha advance, with a complexion resplendent like that of Indra's flag, the chief Brahmanas shook their deerskins and created a loud uproar. Some of them were pleased. Others were displeased. Others among them, who lived by their wisdom and were wise, told each other, "O Brahmanas! If Kshatriyas like Karna and Shalya, who are famous in the world, have great strength and are well versed in Dhanur Veda, could not string the bow, how can this weakling Brahmana, with no knowledge of weapons, succeed? If he fails to succeed in an act that he has undertaken because of his juvenile inexperience, the Brahmanas will become objects of ridicule in the eyes of the kings. Therefore, stop him from attempting to string the bow. He is doing it out of vanity and childishness, inexperienced at being a Brahmana. We will not be ridiculed, not incur anyone's disrespect. Nor will we displease the kings of this world." Others said, "He is handsome and youthful. He is like the trunk of the king of elephants. His shoulders, arms and thighs are built well. In perseverance, he looks like the Himalayas. One who is so resolute may well accomplish the task. Without a doubt, he has great strength and great endeavour. Without these, he would not have gone on his own. Besides, among the three orders, there is no task in the worlds that Brahmanas cannot accomplish. Brahmanas abstain from food, live on air, eat only fruits, observe rigid vows and become weak, yet retain the strength of their own energy. A Brahmana should not be looked down upon, whether his deeds are right or wrong. No one should consider him incapable of performing a deed, big or small, pleasing or unpleasant." The Brahmanas continued to voice their opinions in this way.
'Arjuna came to where the bow was and stood there like a stationary mountain. Circumambulating the bow in accordance with the rites, the scorcher of enemies bowed his head to the bow and joyously grasped it. In the twinkling of an eye, he strung the bow and grasped the five arrows. Through the hole in the machine, he suddenly pierced the target and it fell down on the ground. Thereupon, a great roar was heard in the sky and a great clamour arose in the assembly.
You can read more about this incident in this answer which explains the contradictions in various manuscripts and how the Critical Edition team dealt with them.
Also, as noted in the next chapter, the Pāṇḍavas (who were in their brāhmaṇa disguise at the time) had no right to participate in the svayaṃvara as svayaṃvaras were usually only limited to kṣatriyas.
Vaishampayana said, 'When the king expressed his desire to give his daughter to that great-souled Brahmana, all the assembled kings looked at each other and were filled with anger. The kings said, "We are assembled here and he passes us over like straw. He wishes to give Droupadi, supreme among women, to a Brahmana. This evil-hearted one does not respect us. Let us kill him. He does not deserve our respect or veneration because of qualities of age. On account of this, let us kill this wretch who insults kings and their sons. After inviting and entertaining in the proper fashion all the kings with food, he then shows them disrespect. In this assembly of kings, which is like a conclave of the gods, can he not find a single king who is his equal? The sacred texts clearly say that a svayamvara is for Kshatriyas; Brahmanas have no right in the choice of a husband. O kings! If this lady does not wish one of us as her husband, let us throw her into the fire and return to our kingdoms. Though that Brahmana has done injury to kings out of his impertinence and greed, he should not still be killed. After all, our kingdoms, lives, riches, sons, grandsons and all our other wealth exist for the sake of Brahmanas. But something must be done to prevent insult and to protect our own dharma, so that other svayamvaras do not end like this one." Having said this, those tigers among kings, with arms like clubs, rushed at Drupada with diverse weapons, so as to kill him.
Further, it appears the whole "svayaṃvara" was rigged by Drupada from the get-go. The contest was framed such that only Arjuna would win it.
Vaishampayana said, 'O Janamejaya! Having been thus addressed, the Pandavas headed for the southern part of Panchala, ruled by King Drupada. On their way, the brave Pandavas met the great-souled, pure-souled, unblemished and illustrious sage Dvaipayana and paid their respects to him, in accordance with the prescribed rites. He too showed them his respect and after their conversation was over, on his instructions, they proceeded to Drupada's palace. Those maharathas proceeded slowly, stopping when they saw beautiful forests and lakes. At last, Kuru's descendants, devoted to learning, pure, amiable and sweet of speech, arrived in Panchala. After seeing the city and the royal residence, the Pandavas lodged in a potter's house. Adopting the lifestyle of Brahmanas, they begged for their food. No one recognized those warriors when they stayed there.
'Yajnasena always desired to give Krishna to Kiriti, Pandu's son, but he never revealed this to anyone. O Janamejaya! O descendant of the Bharata lineage! Thinking of Kunti's son, the Panchala got a very hard bow constructed, one that no one else would be able to bend. He had an artificial machine set up above and onto this machine he fixed a golden target. Drupada said, "He who can string this bow and, after stringing, shoot the target above with these arrows, will obtain my daughter." With these words, King Drupada announced the svayamvara everywhere.
But Drupada wasn't sure if it was really Arjuna who had won the contest and Draupadī. However, the series of questions he later ponders over clarifies one thing which is, this particular svayaṃvara was not limited to one particular varṇa.
Prince Dhrishtadyumna set out in great haste to tell King Drupada in detail everything that he had heard during the night. The Panchala king was sad, because he did not know where the Pandavas had gone. The great-souled one asked Dhrishtadyumna, "Where has Krishna gone? Who has taken her away? Is it a Shudra or one of low birth? Has a Vaishya who pays taxes placed his feet on my head? Has a garland been thrown away on a cremation ground? O son! Or is it a foremost man from our own varna, or is it one from a higher varna? Or has a lower being placed his foot on my head and defiled Krishna? I will be happy in my sacrifices if she has been united with Partha, that bull among men. Tell me truthfully. Which illustrious one has won my daughter today? Is there any chance that Vichitravirya's sons, foremost among the Kurus, are still alive? Is it perhaps Partha who took up the bow and shot the target today?"
So the possibility of Draupadī rejecting Karṇa for being a sūta doesn't even arise. Draupadī had no say in it. Because, the terms of this so-called svayaṃvara were that the best archer wins her as prize (vīryaśulka). Yudhiṣṭhira also later argues on the same lines with the priest Drupada sends to inquire about their varṇa and gotra. He tells the priest bluntly that Drupada has no business knowing their varṇa, profession or lineage after Draupadī had already been won according to the rules of the contest.
Yudhishthira then spoke to the Brahmana. "The king of Panchala gave his daughter away according to his wishes and according to his own dharma. He set a price and this brave one has won her in accordance with that. Therefore, no questions can be asked about his varna, action, intention, means of living, lineage or gotra. All those questions have been answered by the act of stringing the bow and striking the target. In doing that, this great-souled one has won Krishna in an assembly of kings. Since that is the case, the king of the lunar dynasty has no reason to regret his decision or be unhappy. O Brahmana! King Drupada's eternal desire will certainly come to be true for the king, because I think that this king's daughter was unattainable otherwise. No one weak in strength or of low birth or unskilled in the use of arms could have strung that bow and shot down the target. Today, it is therefore not proper for the king of Panchala to grieve over his daughter. No man on earth can now undo the fact that he succeeded in shooting down the target." While Yudhishthira was uttering these words, another messenger swiftly came from the king of Panchala, to announce that the feast had been prepared.
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Sapa is located in north-west Vietnam and lies in the shadow of Fanxipan Mount as it is located near the highest mountain in Vietnam, the weather is quite cool and lovely. To make the most of your trip to Sapa, it's important to know the weather when you go and what should bring.
If you are considering a Sapa tour on your next holiday, and you want to know when is the best time to book Sapa tours from Hanoi to experience the best price and services? I recommend booking a Sapa tour from Hanoi within six months before traveling because of the following reasons.
Sapa is an idyllic, mountainous region, popular with trekkers worldwide. The town and its surrounding villages harbour a variety of lesser-known secrets and traditions, with quirky cultural practices which may remain unknown to many of those who visit this picturesque Asian area. If you are a person having a strong passion for travelling to nature, Sapa – one of the destinations most tourists can't miss when they reach Vietnam. With spectacular cascading rice terraces in every shade of green and brown, mountains and valleys to conquer, mountains drown in fog and snow covers everything when winter comes, exciting flavours to explore, somewhere you can smell grilled corn floating in the air, smell the scent of forest, and a beautiful culture to get to know, you may not want to leave. I believe after imagining, you want to pick up the backpack and go Sapa right away. But before you even book a flight, it's best to do some research and make sure you know what you're dealing with. Here are 10 important things to know before travelling to Sapa – Vietnam. This article will help you have the best preparation for your Sapa tours. Let's check it!
Asia travelling is cheapest in comparison of other continents, especially in some countries such as Vietnam, Laos, Thailand, Cambodia, Myanmar… However, not everyone knows the best way to save money when travelling these countries. In this article, you will have more information to become smart travellers. Let's check 10 tips for saving money in Asia.


Sinking cash into inventory can unnecessarily deprive other parts of the business of much needed working capital. Smart inventory management can actually reduce costs, improve turnover and result in happier customers.
For businesses that trade in products, inventory management is an ongoing issue. Unless you are in a pure services environment chances are inventory represents what you make available to customers, and even if you use an order fulfillment service to manage order flow, chances are good that you're still carrying some amount of inventory to facilitate immediate orders.
Sinking cash into inventory unnecessarily deprives other parts of the business of much needed working capital, making inventory management a key discipline for managing the efficient running of the business as well as for effective cash flow management. Smart inventory management can actually reduce costs, improve turnover and result in happier customers.
Every product has its own sales and replenishment rhythm, and understanding the lead time needed to replace inventory is a key first step to managing inventory. Evaluating how often a given product or component is sold or used, as well as the amount of time it takes to get these items back in stock, is key. Understanding the balance between how often a product is sold in a given time period and the time needed to get more of those same items is the start to effectively reducing inventory costs without impacting sales to customers.
Once it's clear what cycle your inventory tends to follow, it's a good idea to consider incorporating inventory buffers into your planning. Even the most careful inventory strategy can get surprised by unplanned demand or a hiccup in production and supply, but careful use of buffers of inventory can smooth the peaks and valleys of the supply chain.
Of course, the question of how much of a buffer to maintain is a difficult one to answer as each business is unique. What is important is to consider the tradeoff between the price of establishing and maintaining the buffer against the importance of having inventory available at all times. Expensive items that are rarely sold and readily available from a variety of suppliers aren't ideally suited to be stored as a buffer, while difficult to source and high demand items are well suited to a significant buffer.
Generate a list of reliable suppliers that can meet the needs of your business and your customers.
Decide on appropriate stock levels.
Provide a framework for conducting ongoing evaluations of inventory needs and your supply chain.
Respond to changes in inventory prices by delaying additional purchases should prices rise or taking advantage of decreasing prices by purchasing additional quantities of inventory or components.
Choose and maintain a Client Relationship Management (CRM) program to improve real time sales and supply information as well as to forecast and demands on inventory and future sales.
Going beyond these basic inventory management techniques requires taking an active role in managing the costs of inventory.
Suppliers can influence the degree to which inventory will impact your business. Seek and partner with suppliers who take a flexible approach to managing inventory, advance goods on consignment, or provide just-in-time solutions.
Spread the word and share the most successful inventory management solutions for your business with other locations and business partners. Spreading and implementing efficient practices can lead directly to reduced expenses across the organization.
Adjust your operations to better map to your desired inventory situation. Matching production schedules to inventory needs is an easy way to reduce the costs of inventory and increase operational efficiency.
Decrease the gap between reviews of physical inventory levels. Lengthy inventory audits and reviews can impact the business by inadvertently forcing higher than ideal inventory levels, whereas a more frequent review process can improve the accuracy of supplier orders and save on inventory carrying costs.
Streamline the way you purchase and reduce the lead time associated with orders by pre-approving sensible order amounts. Adopting this approach to reducing the amount of time it takes to replenish inventory is an easy way to manage inventory levels without breaking the budget.
Understand your customers well enough to accurately fill their orders in a way that makes sense for both of you. Some customers will order large quantities of products but use them slowly over a long period of time. Fulfilling these orders according to a "just-in-time" philosophy, while still being careful to make sure the customer has adequate access to products needed at all times, is another great way to better manage inventory and improve client satisfaction.
Create accountability around inventory management by aligning the interests of employees with the adoption of inventory best practices. This can prevent situations whereby employees sacrifice inventory discipline in favor of achieving other goals that may not be well aligned with the actual needs of the business.
With benefits like enhanced cash flow and reduced costs the case for implementing a rigorous approach to inventory management is compelling for businesses of all sizes and industries.


text:
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redpajama_set_name: RedPajamaCommonCrawl


Griffin Casinos specialise in the 'purist casino games': Roulette, Black Jack, Caribbean Stud, Stud Poker and Craps.
At the beginning of the function, guests are issued with a set amount of 'fun casino money'. This is in turn exchanged at the tables for gaming chips, leaving your guests free to gamble the evening away. As the evening draws to an end the chips are cashed in and the amounts totaled. Prizes can be awarded to the person or persons winning the most 'money'.
Griffin Casinos also cater for charity and fund-raising events. In this instance, one option is to sell tickets and/or allow guests to purchase money as required. No real money can be exchanged at the tables and all profits must of course be donated to charity.
Provided no real money is exchanged at the tables, and all profits are donated to charity, mobile fun casinos are legal and require no specific licenses.


text:
Q: Disable Focus Visual Effects UWP I want to disable the focus visual effects on TextBox in my UWP app.
What I've tried:
<TextBox x:Name="CodigoTextBox"
                 Text ="{x:Bind Codigo, Mode=TwoWay, UpdateSourceTrigger=PropertyChanged}"
                 Grid.Column="1"
                 MinWidth="150"
                 BorderThickness="0"
                 IsFocusEngagementEnabled="False"
                 FocusVisualPrimaryBrush="Transparent"
                 FocusVisualPrimaryThickness="0"
                 FocusVisualSecondaryBrush="Transparent"
                 FocusVisualSecondaryThickness="0"
                 IsFocusEngaged="False"
                 FocusVisualMargin="0"
                 AllowFocusOnInteraction="True"/>

I want to do this because I'm creating an UserControl where I'll have a Combobox and a textbox inside a grid where I just want the outer borders to be visible.

A: Switch to design mode in Visual Studio, right-click on the TextBox and choose Edit Template->Edit a Copy.
This will copy the default template into your XAML markup. You can then simply comment out the "Focused" VisualState.
Here is a fully working example:
<TextBox>
    <TextBox.Style>
        <Style TargetType="TextBox">
            <Setter Property="Foreground" Value="{ThemeResource TextControlForeground}"/>
            <Setter Property="Background" Value="{ThemeResource TextControlBackground}"/>
            <Setter Property="BorderBrush" Value="{ThemeResource TextControlBorderBrush}"/>
            <Setter Property="SelectionHighlightColor" Value="{ThemeResource TextControlSelectionHighlightColor}"/>
            <Setter Property="BorderThickness" Value="{ThemeResource TextControlBorderThemeThickness}"/>
            <Setter Property="FontFamily" Value="{ThemeResource ContentControlThemeFontFamily}"/>
            <Setter Property="FontSize" Value="{ThemeResource ControlContentThemeFontSize}"/>
            <Setter Property="ScrollViewer.HorizontalScrollMode" Value="Auto"/>
            <Setter Property="ScrollViewer.VerticalScrollMode" Value="Auto"/>
            <Setter Property="ScrollViewer.HorizontalScrollBarVisibility" Value="Hidden"/>
            <Setter Property="ScrollViewer.VerticalScrollBarVisibility" Value="Hidden"/>
            <Setter Property="ScrollViewer.IsDeferredScrollingEnabled" Value="False"/>
            <Setter Property="Padding" Value="{ThemeResource TextControlThemePadding}"/>
            <Setter Property="UseSystemFocusVisuals" Value="{ThemeResource IsApplicationFocusVisualKindReveal}"/>
            <Setter Property="ContextFlyout" Value="{StaticResource TextControlCommandBarContextFlyout}"/>
            <Setter Property="SelectionFlyout" Value="{StaticResource TextControlCommandBarSelectionFlyout}"/>
            <Setter Property="Template">
                <Setter.Value>
                    <ControlTemplate TargetType="TextBox">
                        <Grid>
                            <Grid.Resources>
                                <Style x:Name="DeleteButtonStyle" TargetType="Button">
                                    <Setter Property="Template">
                                        <Setter.Value>
                                            <ControlTemplate TargetType="Button">
                                                <Grid x:Name="ButtonLayoutGrid" Background="{ThemeResource TextControlButtonBackground}" BorderThickness="{TemplateBinding BorderThickness}"
                                                      BorderBrush="{ThemeResource TextControlButtonBorderBrush}">
                                                    <VisualStateManager.VisualStateGroups>
                                                        <VisualStateGroup x:Name="CommonStates">
                                                            <VisualState x:Name="Normal"/>
                                                            <VisualState x:Name="PointerOver">
                                                                <Storyboard>
                                                                    <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ButtonLayoutGrid" Storyboard.TargetProperty="Background">
                                                                        <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlButtonBackgroundPointerOver}"/>
                                                                    </ObjectAnimationUsingKeyFrames>
                                                                    <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ButtonLayoutGrid" Storyboard.TargetProperty="BorderBrush">
                                                                        <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlButtonBorderBrushPointerOver}"/>
                                                                    </ObjectAnimationUsingKeyFrames>
                                                                    <ObjectAnimationUsingKeyFrames Storyboard.TargetName="GlyphElement" Storyboard.TargetProperty="Foreground">
                                                                        <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlButtonForegroundPointerOver}"/>
                                                                    </ObjectAnimationUsingKeyFrames>
                                                                </Storyboard>
                                                            </VisualState>
                                                            <VisualState x:Name="Pressed">
                                                                <Storyboard>
                                                                    <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ButtonLayoutGrid" Storyboard.TargetProperty="Background">
                                                                        <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlButtonBackgroundPressed}"/>
                                                                    </ObjectAnimationUsingKeyFrames>
                                                                    <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ButtonLayoutGrid" Storyboard.TargetProperty="BorderBrush">
                                                                        <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlButtonBorderBrushPressed}"/>
                                                                    </ObjectAnimationUsingKeyFrames>
                                                                    <ObjectAnimationUsingKeyFrames Storyboard.TargetName="GlyphElement" Storyboard.TargetProperty="Foreground">
                                                                        <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlButtonForegroundPressed}"/>
                                                                    </ObjectAnimationUsingKeyFrames>
                                                                </Storyboard>
                                                            </VisualState>
                                                            <VisualState x:Name="Disabled">
                                                                <Storyboard>
                                                                    <DoubleAnimation Duration="0" Storyboard.TargetName="ButtonLayoutGrid" Storyboard.TargetProperty="Opacity" To="0"/>
                                                                </Storyboard>
                                                            </VisualState>
                                                        </VisualStateGroup>
                                                    </VisualStateManager.VisualStateGroups>
                                                    <TextBlock x:Name="GlyphElement" AutomationProperties.AccessibilityView="Raw" FontStyle="Normal" FontFamily="{ThemeResource SymbolThemeFontFamily}" Foreground="{ThemeResource TextControlButtonForeground}" FontSize="12" HorizontalAlignment="Center" Text="" VerticalAlignment="Center"/>
                                                </Grid>
                                            </ControlTemplate>
                                        </Setter.Value>
                                    </Setter>
                                </Style>
                            </Grid.Resources>
                            <Grid.ColumnDefinitions>
                                <ColumnDefinition Width="*"/>
                                <ColumnDefinition Width="Auto"/>
                            </Grid.ColumnDefinitions>
                            <Grid.RowDefinitions>
                                <RowDefinition Height="Auto"/>
                                <RowDefinition Height="*"/>
                                <RowDefinition Height="Auto"/>
                            </Grid.RowDefinitions>
                            <VisualStateManager.VisualStateGroups>
                                <VisualStateGroup x:Name="CommonStates">
                                    <VisualState x:Name="Normal"/>
                                    <VisualState x:Name="Disabled">
                                        <Storyboard>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="HeaderContentPresenter" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlHeaderForegroundDisabled}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="BorderElement" Storyboard.TargetProperty="Background">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlBackgroundDisabled}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="BorderElement" Storyboard.TargetProperty="BorderBrush">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlBorderBrushDisabled}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ContentElement" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlForegroundDisabled}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="PlaceholderTextContentPresenter" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{Binding PlaceholderForeground, RelativeSource={RelativeSource Mode=TemplatedParent}, TargetNullValue={ThemeResource TextControlPlaceholderForegroundDisabled}}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                        </Storyboard>
                                    </VisualState>
                                    <VisualState x:Name="PointerOver">
                                        <Storyboard>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="BorderElement" Storyboard.TargetProperty="BorderBrush">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlBorderBrushPointerOver}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="BorderElement" Storyboard.TargetProperty="Background">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlBackgroundPointerOver}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="PlaceholderTextContentPresenter" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{Binding PlaceholderForeground, RelativeSource={RelativeSource Mode=TemplatedParent}, TargetNullValue={ThemeResource TextControlPlaceholderForegroundPointerOver}}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ContentElement" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlForegroundPointerOver}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                        </Storyboard>
                                    </VisualState>
                                    <!--<VisualState x:Name="Focused">
                                        <Storyboard>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="PlaceholderTextContentPresenter" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{Binding PlaceholderForeground, RelativeSource={RelativeSource Mode=TemplatedParent}, TargetNullValue={ThemeResource TextControlPlaceholderForegroundFocused}}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="BorderElement" Storyboard.TargetProperty="Background">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlBackgroundFocused}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="BorderElement" Storyboard.TargetProperty="BorderBrush">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlBorderBrushFocused}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ContentElement" Storyboard.TargetProperty="Foreground">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="{ThemeResource TextControlForegroundFocused}"/>
                                            </ObjectAnimationUsingKeyFrames>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="ContentElement" Storyboard.TargetProperty="RequestedTheme">
                                                <DiscreteObjectKeyFrame KeyTime="0" Value="Light"/>
                                            </ObjectAnimationUsingKeyFrames>
                                        </Storyboard>
                                    </VisualState>-->
                                </VisualStateGroup>
                                <VisualStateGroup x:Name="ButtonStates">
                                    <VisualState x:Name="ButtonVisible">
                                        <Storyboard>
                                            <ObjectAnimationUsingKeyFrames Storyboard.TargetName="DeleteButton" Storyboard.TargetProperty="Visibility">
                                                <DiscreteObjectKeyFrame KeyTime="0">
                                                    <DiscreteObjectKeyFrame.Value>
                                                        <Visibility>Visible</Visibility>
                                                    </DiscreteObjectKeyFrame.Value>
                                                </DiscreteObjectKeyFrame>
                                            </ObjectAnimationUsingKeyFrames>
                                        </Storyboard>
                                    </VisualState>
                                    <VisualState x:Name="ButtonCollapsed"/>
                                </VisualStateGroup>
                            </VisualStateManager.VisualStateGroups>
                            <ContentPresenter x:Name="HeaderContentPresenter" ContentTemplate="{TemplateBinding HeaderTemplate}" Content="{TemplateBinding Header}" Grid.ColumnSpan="2" Grid.Column="0" FontWeight="Normal" Foreground="{ThemeResource TextControlHeaderForeground}" Margin="{ThemeResource TextBoxTopHeaderMargin}" Grid.Row="0" TextWrapping="Wrap" VerticalAlignment="Top" Visibility="Collapsed" x:DeferLoadStrategy="Lazy"/>
                            <Border x:Name="BorderElement" Background="{TemplateBinding Background}" BorderThickness="{TemplateBinding BorderThickness}" BorderBrush="{TemplateBinding BorderBrush}" CornerRadius="{TemplateBinding CornerRadius}" Grid.ColumnSpan="2" Grid.Column="0" Control.IsTemplateFocusTarget="True" MinHeight="{ThemeResource TextControlThemeMinHeight}" MinWidth="{ThemeResource TextControlThemeMinWidth}" Grid.RowSpan="1" Grid.Row="1"/>
                            <ScrollViewer x:Name="ContentElement" AutomationProperties.AccessibilityView="Raw" Grid.Column="0" HorizontalScrollBarVisibility="{TemplateBinding ScrollViewer.HorizontalScrollBarVisibility}" HorizontalScrollMode="{TemplateBinding ScrollViewer.HorizontalScrollMode}" IsDeferredScrollingEnabled="{TemplateBinding ScrollViewer.IsDeferredScrollingEnabled}" IsHorizontalRailEnabled="{TemplateBinding ScrollViewer.IsHorizontalRailEnabled}" IsTabStop="False" IsVerticalRailEnabled="{TemplateBinding ScrollViewer.IsVerticalRailEnabled}" Margin="{TemplateBinding BorderThickness}" Padding="{TemplateBinding Padding}" Grid.Row="1" VerticalScrollMode="{TemplateBinding ScrollViewer.VerticalScrollMode}" VerticalScrollBarVisibility="{TemplateBinding ScrollViewer.VerticalScrollBarVisibility}" ZoomMode="Disabled"/>
                            <TextBlock x:Name="PlaceholderTextContentPresenter" Grid.ColumnSpan="2" Grid.Column="0" Foreground="{Binding PlaceholderForeground, RelativeSource={RelativeSource Mode=TemplatedParent}, TargetNullValue={ThemeResource TextControlPlaceholderForeground}}" IsHitTestVisible="False" Margin="{TemplateBinding BorderThickness}" Padding="{TemplateBinding Padding}" Grid.Row="1" Text="{TemplateBinding PlaceholderText}" TextWrapping="{TemplateBinding TextWrapping}" TextAlignment="{TemplateBinding TextAlignment}"/>
                            <Button x:Name="DeleteButton" AutomationProperties.AccessibilityView="Raw" BorderThickness="{TemplateBinding BorderThickness}" Grid.Column="1" FontSize="{TemplateBinding FontSize}" IsTabStop="False" MinWidth="34" Margin="{ThemeResource HelperButtonThemePadding}" Grid.Row="1" Style="{StaticResource DeleteButtonStyle}" VerticalAlignment="Stretch" Visibility="Collapsed"/>
                            <ContentPresenter x:Name="DescriptionPresenter" AutomationProperties.AccessibilityView="Raw" Content="{TemplateBinding Description}" Grid.ColumnSpan="2" Grid.Column="0" Foreground="{ThemeResource SystemControlDescriptionTextForegroundBrush}" Grid.Row="2" x:Load="False"/>
                        </Grid>
                    </ControlTemplate>
                </Setter.Value>
            </Setter>
        </Style>
    </TextBox.Style>
</TextBox>

redpajama_set_name: RedPajamaStackExchange


text:
Home Architecture The Pop In! Volume Thirteen-Thomas Anfield
The Pop In Series
The Pop In! Volume Thirteen-Thomas Anfield
Erin Shaw
We're knocking on doors and taking a look around peoples' homes to see where your neighbours relax, hang out with their pets, and create! It's an invitation to snoop, but we're staying away from their medicine cabinets. Photos: @art3fact
Our Host: Thomas Anfield
Who's that? Painter and performance artist living in Vancouver
Beverage Offered: red wine
Thomas Anfield knows that every home ( and piece of art) has a vibe. The artist's home's vibe has been developing and changing over the 25 years he's lived and worked in it.
It's an old-timer (1910) near Fraser and King Ed, where all the hills crest. Despite its age and the terrain, his home seems to be made of right angles and sturdy workmanship. None of the numerous renos done the house over the past 102 and years have "taken". It's the original wood, lathe and plaster that remain.
It's warm and colourful with a grandeur that isn't showy. The wooden banisters are well-worn and the floors gleam from heavy use, not from waxing. It's a bit drafty (what old old house isn't?) but Thomas is a warm and inviting host, offering us wine and great company. His approach is to just live in his home.
"In Vancouver, your equity is going to grow, so unless we were going to do a real overhaul, insulate and do the whole thing, it was better just to live in it, and raise our kids and just make sure that it's a funky place to live. It's always been very artistic here."
The home was bought as a place to live, but also as a place to work. Thomas and his wife approach their house with an "art comes first" attitude, so whether Thomas is creating a huge mural alongside the staircase, or turning the master bedroom into his studio, Thomas' home supports his worklife. It's usually the other way around, but it makes sense when you consider what his work.
"Well, most of my time is just art work. Other than that I play a lot of music with friends — do some recording. We're kind of dinner partyish people."
The house feels like it's made for entertaining. Art pieces from friends make easy conversation starters. The living room has a flirtatious feel with knick knacks carefully curated by Thomas' wife Melo, who is a vintage clothing picker and creator. The dining room provides an open space to dance, with a sizable table against one wall. Up the stairs are three bedrooms, one of which acts as his studio.
"Unless you can afford beautiful polished steel and glass, then you have texture, so I prefer more texture and bit more funky. Let it rot, let it break, let it chip. It's beautiful. People love it. Any textured old walls….this wall here for example has 17 different types of wall paper on it."
He knows this because he's counted them. His studio is the room in the house that gets the most light and perhaps has the most visible history. It's also the room where you are most likely to experience pareidolia (that phenomenon where you think you see images or scenes in clouds or pieces of toast) which is something that Thomas has explored in his work.
Thomas says the art he creates gives off a certain vibration that affects the feel of the house. It's big, it's friendly and it's fun. It's a lot like him.
Founder of popular B.C. cheese business falls to his death in mountaineering accident
Speculation weeding out Vancouver's grassroots arts spaces at alarming pace
'Surgical density' may transform single-family lot into home for 29-unit condo
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text:
Work and Welfare (1)
1 2019-05-18T05:14:49-07:00 Elizabeth Edgerton 0afe7bb54204547fed22bac3c58c6ad5ae8ea8f3 7 9 Travelling to the cannery in Rivers Inlet. plain 2021-11-16T11:23:34-08:00 9780774861250_EP_624 © Elsie Paul 2004-03-29 Sound Elsie Paul, interviewed by Paige Raibmon Courtesy of Elsie Paul Sliammon village (t'ɩšosəm), British Columbia, Canada English 2019-06-01T00:03:04+00:00 Kellen Malek 84e2c0e8ef7955346d9a7d72e6274dd2006a37ab
1 2019-04-04T21:32:00-07:00 Work and Welfare 30 image_header 2021-12-23T12:48:48-08:00
"No one asked us if we wanted welfare."
I travelled a lot with them. My grandfather, he did handlogging, he fished and – not on a large scale, but just making a living off the land. He did dog fishing, gillnetting. In the summer, we would go up to Rivers Inlet where there was commercial fishing happening there. And so, he didn't have a gas boat the first time that I remember going up there. We would go on the steamship that used to go through here. Going up there was really difficult travellin', but that was how things were back then, where we got on the Union steamship and headed up there. And to be treated as third-class citizens, and riding down below where they keep the baggage in the boats. We would be all herded down there, all the Indian people coming on the boat. We're straight down there.
And my grandmother would pack our food, enough to last us – I don't know if it was two-day journey or a little more than two days – to get up to Rivers Inlet. 'Cause it pulled into other ports. And other people would come on board and they would come into this holding area where we were kept. So we had our lunch down there, our meals down there, what my grandmother prepared, and I remember one thing she packed – I always remember that – were seagull eggs. We used to eat seagull eggs. And so I guess it was around May or – ending of May, I guess. 'Cause May is the time that the seagulls lay their eggs, out at Mitlenatch Island. So people used to always get excited about that. They'd go and gather these eggs. And so she'd hard-boil them. I remember it being in a big container. And that's what we had as one of the foods we would have at lunch. Mealtimes. They're big. They're really big. They're like extra-large eggs, but they're bigger than that, little bigger. They're grey and speckled. Just like – I was going to say robin eggs – quail eggs, you know. But they're so tiny. But these were huge. So, I liked them!
There were different foods that we had that I had acquired a taste for them growing up, because it's what my grandparents ate. And a lot of it was dried. Dried deer meat. Dried clams. We used to dry clams. Lot of the foods that we ate was dried. 'Cause, of course, we didn't have coolers or refrigerators or freezers when I was a child. So everything was dried. Smoked salmon, dried and smoked clams. Anything, dried berries even. And just eat them dry. And of course, bread. Bannock. So my granny would bring along the bread, and the rest was all basically dried foods, or jams and things like that.
Yeah, 'cause we had to pack light too. 'Cause we'd know we were staying in a small place once we got there. So we only took what was really necessary. And we packed our belongings in those big galvanized tubs. You had to bring your dishes and all that. And a few little pots and pans. And your dishes. So that all ended up in the big galvanized tub. And we used that for our bath as well – in this tub. And our blankets were put into, like, big duffle bags or sometimes they're just tied in from the four corners, and you put all your bedding there and tie in the four corners, and away you go. But we didn't pack heavy, 'cause we'd only be there for about two months up there. Yeah. Well, that was quite an experience. Quite different for us to travel. Because there's no work here in the summer. And there was no welfare in those days. Our people didn't go and apply to collect welfare. That was so foreign to our people when it first started to come.
I remember I was quite young, maybe I was around twelve or thereabouts. No one asked us if we wanted welfare, but somehow this box ended up on our doorstep. It was delivered through some outside organization. And all that was in this box was a big bag of beans and – oh gosh! I can't remember what was all in there – probably five pounds of sugar, ten pounds of flour, that kind of a thing. And baking powder. There's nothing really fancy. It was just staples. A lot of beans. There was always a big bag of beans and, yeah – white – always remember those. Little white beans? Still today, I don't eat it. I don't buy it. I think I just got all beaned out. I just didn't – not friendly with the beans! [laughs] And the other thing was oatmeal. We'd get that – oatmeal. No milk, just that. But my grandfather couldn't figure it out: "Why are they giving us this food?" 'Cause we never asked for it. Our people lived from food they gathered and worked for.
Our people called it "relief." That's what it was called. So much for a family, used to be – get the basic necessities. First it was goods, when I was young. That's when it first started. And just a box of goods delivered to your door. And then later on, the Indian agent would come from Vancouver or the social worker for the Indian Affairs would fly in to Powell River and be here for the day. And if you wanted to make an appointment, you went there and filled out a form and was interviewed. So that was quite degrading. I don't think anyone chooses to be on welfare. I know at first for our people it was something that was very different. Now people demand it today. People have really adapted and have adapted to that kind of a handout. And I myself, you know, it's so degrading. To have to go and fill out – give people your history, why you need welfare.
And for quite a while there, when my kids were little, that's when we had decided to leave in the summer and we went down the States and picked berries, and I would just leave the reserve and go up – my aunt lived in Squirrel Cove. And go there and just kind of live off the land and not have to worry about going without, 'cause the closer you are to the land, the more readily available food was. So we could've survived. My husband had an old boat, and he would go fishing all day, and come home with a couple of fish and that – we still survived on that.


Anyone who has seen the movie "Selma" knows the split second power of media storytelling to jolt viewers into a visceral, emotional sidewinder.
The teens on either side of me were wide-eyed, visibly shaken, and riveted as the dialogue shifted from children playfully bantering about hairstyles to the surreal scene of the 16th Street Baptist Church bombing.
One flung her hands to her mouth as if stifling a scream, the other let out an audible gasp. Neither had proper historic context to even remotely see it coming, and it dawned on me that Selma director Ava DuVernay's brilliant empathy lens managed to grip youth with an educational shoulder shake while making them care profoundly in a blip of a nanosecond. Nattering nitpickers of DuVernay's chosen lens miss the poignant depiction of painfully raw realities that manage to plop viewers smack dab in the civil rights battlefield to give a damn. That's powerful media.
In short, she gets up close and personal and won't let us look away.
I found myself profoundly attached to every single character in the film, not just the leads, as wince-worthy tensions escalated with each scene of injustice, provoking an "omg, no, not him…please…not her…" style of response. Her restrained finesse with imagery and non-gratuitous violence left our own imaginations brutally deployed, as tears welled within me again and again connecting to the human, personal stories that seared into my soul. The Glory soundtrack and finale newsreel footage of "Selma is now" elevated the film to empathy as an art form.
'Boots on the ground' style storytelling gleaned from those who have 'been there done that' has a remarkable impact on kids. (see Phactual.com's split screen examples, like John Lewis in the Selma movie, and in real life).
It's the kind of relatable storytelling that makes people care…the next best thing to 'first person/you are there' experiences told in life's own 'reality TV' that cuts through the clutter to engage youth directly, powerfully.
For me, Selma as media conduit struck a refreshing female director's tone that made this sort of narrative honest and appealing, provoking conversation, observation, media literacy exploration and the opportunity to dig deeper into icons of living history from the era, to hear their "then and now" lens firsthand.
Now…Can graphic novels like March evoke similar emotions?
At first it was hard to fathom how Rep. John Lewis' graphic novel series could impart such important subject matter via cartoon bubble, telling the story of Selma through graphic novels without looking like a BIFF! Kapow! Blam! style DC comic.
I was more than a little curious how the illustration of artist Nate Powell and the narrative of Rep. John Lewis and legislative aide Andrew Aydin would manage to tug at the same evocative e-quotient to extract empathy with accurate depictions of the heinous brutality of civil rights struggles in Selma instilling the strong stance of nonviolence he wished to convey from his own experience.
But somehow, they did it. And they did it well.
It's a complicated feat to keep a natural tone, lace in anecdotes and factoids, stay accurate and speak truth to the movement's many iterations through the lens of a current day congressional representative's own personal pummeling, tear gassing, jail time and trampling, while reiterating a message of nonviolence.
The "March" books embrace a fast-moving, 21st Century non-linear style, zinging between the seeds of student uprising, the faces and phases of civil rights clashes and embroiled shifts in leadership, the present day progressions with President Obama's inauguration in 2009 and even looping back to Rep. Lewis' own childhood on his family's own sharecropper farm, where he tells tender, elaborate stories about the naming and care-taking of his chickens.
Though in black and white, every passage paints a colorful picture, sharing bits of personalities, profile quirks, emotional baggage and political snippets of the movement via montage.
Imagine young John Lewis creating his own makeshift incubator while dreaming of a real one at an unaffordable $18.95 from the Sears wish book. From chicken eulogies and preacher aspirations to farm pets like Lewis' favorite L'il Pullet, who followed the leader, the textural details woven into the storyline particularly appealed.
One of my favorite passages shares the SNCC strategic tactics of nonviolence training workshops where the students purposely role-played to try to dehumanize each other and break each other's spirits to prepare for their peaceful stances against segregation at lunch counters, movie theaters, as Freedom Riders and crossing the bridge in Selma.
Cartoon bubbles implore with safety warnings in a 'you are there' experiential flavor, reminding how fast humanity can devolve into depravity once 'object' status kicks in over face to face connection and humane outreach.
The narrative devices show attention to detail and capability of artistic elements to stir the senses.
Repeated use of phone icons end each book and leave you dangling (in book one it's a depiction of an incoming cell phone call vibrating, in book two it's the pay phone cord from a booth blown off by the blast which is depicted in the closing frame of the bombing of the 16th Street Baptist Church) The degradation in the jail cells is palpable, and the 'in your face' singing and defiance is uplifting and inspiring. The emotional content moves the reader through the story arch with shadows and echoes of the Ferguson urgency tempered by the vast differences of the times and a useful primer on nonviolent ways.
It also helps pique interest in delving deeper, bringing history to the forefront with personal storytelling, unearthing follow ups with living icons in 'where are they now' mode, as the graphic novel mentions names threaded throughout the books like a 'who's who' primer of activists of the era.
"I was too young to know any better about whether or not it was appropriate to even pitch a member of Congress, much less an icon, on doing a comic book," said Aydin, who joined Lewis in a joint-interview…Though Lewis initially resisted the idea of writing a comic book, Aydin persisted.
Co-authors John Lewis and Andrew Aydin have recently been on the university circuit igniting a whole new generation through tempered, nonviolent action as a catalyst for change.
"After a grand jury decided not to indict the white police officer who shot and killed unarmed black youth Michael Brown in Ferguson, Mo., last year, students in Louisiana created an organization modeled on the national student movement Lewis led, because they'd read about it in his first book installment," Aydin said.
"They could all benefit about understanding how nonviolent protests succeeded in the past in pressuring political leaders to act," Aydin reminded.
I was lucky to meet them both, downright giddy, in fact.
The thought of hearing John Lewis himself (now Congressional Representative/GA, then SNCC chair) delivered the same awe-inspiring clout as when I had the opportunity to meet John Dixon expelled from ASU over the civil rights lunchroom sit-ins in 1960.
Speaking at San Francisco State University about nonviolent protesting while sharing his newly launched Book 2 of his graphic novel trilogy "March" (copies were given gratis to SF Unified School district and collegiate students attending) I was amazed by both his oration and the translation of his experience into what might initially brush off as 'comic book' form.
Listening to John Lewis share his own brushes with death, firm in his convictions to create "good trouble" and snap open 'eyes wide shut,' 50 years melted away and living history landed front and center on stage.
The Southern Poverty Law Center, in a 2011 report, "Teaching the Movement," found that 16 states didn't require instruction about the movement, and in 19 others coverage was minimal, while most states failed to teach that era well, as this piece cites hundreds of schools already using the first "March" book to fill the civil rights edu-chasm in coverage.
It's no surprise then, that you could hear a pin drop in the audience, as students eagerly listened to Rep. John Lewis' first person pointers from an era many have barely heard 'taught' in schools beyond the lionized Martin Luther King Jr. snippets and broad brushstrokes of civil rights leaders long gone, burying topical problems of race and cultural credos as if ascribed to an era long gone.
This dynamic duo resurrects the relevance into a 21st century change agent lens filling the chasm of educational gaps in teaching about the era of civil disobedience, and freshening resolve anew.
Just like the Selma movie itself, the books are a starting point to a much larger conversation, with the bravery, courage, and 'put yourself in this picture' empathy lens that serves as a pivotal role in framing not just the problems but the ongoing solutions that MUST surface in the national dialogue on race and social justice for change.
The ability to use media to explore essential questions and engage and inspire kids with "walk in these shoes" firsthand storytelling experiences brings learning alive far beyond the solemn salutes to slain civil rights leaders, and gives much needed context to the vitriol and polarity of some of today's media coverage and important hashtag activism.
Yes, #BlackLivesMatter and Lewis and Aydin are here to do some schooling on the nonviolent message of being the change…in the present, not the past.


text:
Iowa Settles Settlement Claims Totaling $325,000
Iowa's appeal board approved the payment for several personal injury settlements totaling $325,000.
The claims paid for partially by the state include:
$175,000 paid to Clinton resident Merlyn Law, who filed a personal injury lawsuit in 2011 against the University of Iowa Hospitals and Clinics alleging negligence after surgery
$150,000 paid to Melissa Marie Herman's guardian, Dennis Lee Herman, after a lawsuit was filed claiming Melissa's wheelchair was not properly evaluated by the state hospital, resulting in her injury
$900 paid to Daniel Ritter after he claimed that negligence on the part of the state caused their State Fair tent to collapse onto his car
And $500 paid to Eleanora Anderson, who claimed she was assaulted by state prison officers during the time she spent at the Iowa Correctional Institute for Women
After experiencing an injury caused by the negligence or irresponsibility of others, you may be owed financial compensation for the undue harm you've experienced. Speak with a lawyer from LaMarca Law Group, P.C., today at (515) 705-0233 to discuss how we may be able to help you in such a situation.


Yeaah, my lovely friend, Chloé, from Paris came to visit me in London for the weekend. Chloe is a friend I met in London while taking courses at London College of Fashion. We are both very much into the fashion industry. She is starting to be a shoe designer and have worked for brands at Barbara Bui. And myself are more into the digital communication, fashion pr, etc. This morning we went to Aubaine for breakfast before going to Selfridges for shopping. It's sales…… – but I never find things on sale. The new season is always more interesting.
Hiding from the rain under the umbrella…..


You have faithfully done what you could. Day in and Day Out you sacrificed and prayed and given and helped. You did it unto the Lord... and trust me that's how He sees it. When the chips were down, that hireling deserted the flock, but Miki... you stayed... and That is What is Most Precious in Heaven's eyes!
And Know Miki... You Are Not Alone. We've all had our battles to fight & overcome. God gives us all our own crosses to carry. I know you are discouraged and disheartened... we've all been there. The unscathed life does not exist... But We've Survived & So Will You!
Be not weary in well doing for in due season you will reap if you faint not. You've gotta see that it is a battle and we are running a race. It's not the falls and the slips and the trips that count... It's how you finish that counts.
In fact the Lord is probably much more proud of those who have overcome Great Adversities... than he is of the simple guy who has never had a big trial or problem. When you have the integrity to stand up for the truth and be faithful for God, despite all the problems the enemy can throw your way, it rings loud and clear. It's such a convicting sample to all.
The Scumbags Reap What They Have Sown!
Just 5 Short Years Later.
In times of change and difficulty the worst thing you can do is let yourself get all frazzled and rattled. In trying times that's when you need to go to that still, quiet place of trust and hear from the Lord for what he wants you to do now. When you get that clear leading... then you need to just follow it and know God Will See You Through!
Then, my soul, "Consider Him".


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Definition - What does Performance Testing mean?
Computer hardware and software are tested to make sure they are functioning optimally. For example, systems can suffer from data bottlenecks due to software interoperability problems. Similarly, databases that function perfectly with small amounts of data may not perform as well when subjected to real-time peak data loads.
There are many consulting organizations offering performance testing services. There are also free open-source testing tools available.