text:
|Oracle® Database 2 Day DBA
10g Release 1 (10.1)
Part Number B10742-03
|View PDF
This chapter discusses the Oracle instance and database.
The following topics are covered:
Your Oracle database is comprised of a set of operating system files containing data entered by users or applications and structural information about the database itself called database metadata. Information is stored persistently in these files.
In order for you to view or update the data contained in the database, Oracle needs to start a set of processes, called background processes, and needs to allocate some memory to be used during database operation. The background processes and memory allocated by Oracle together make up an instance. Therefore before the database can be used, the database instance must be started. When the database instance is not available, your data is safe in the database but it cannot be accessed by any user or application.
The properties of a database instance are specified using instance initialization parameters. When the instance is started, an initialization parameter file is read and the instance is configured accordingly.
The Oracle instance and the Oracle database are separate entities, although the term instance is often used to mean one or the other or both. Technically, they are distinguished as follows:
An Oracle instance consists of the shared memory structures and background processes that run the Oracle database. You can have an instance without a database (for example, when you have not yet created a database), and if a database exists, it can be open or not.
A database instance refers to the physical and logical components of a specific database, and its operation.
This section presents some of the concepts of an instance and its functioning. It is intended that these concepts can provide a basis for understanding instance management. The following topics are discussed:
This section briefly describes the memory structures of an instance. The size of these structures affects the performance of the Oracle database server and is controlled by initialization parameters. These initialization parameters can be categorized as memory parameters.
When a database is created with DBCA, the memory parameters are automatically set to optimal values based on your specification of the database workload, such as Data Warehouse, General Purpose, or Transaction Processing. However, as your database usage expands, you might find it necessary to alter the settings of the memory parameters.
Oracle provides alerts and advisors to identify memory sizing problems and to help you determine appropriate values for memory parameters.
The SGA is a shared memory area that contains data and control information for the instance. Multiple users can share data within this memory area (controlled by Oracle) and information stored in the SGA can avoid repeated access from physical disk, a time consuming operation.
For optimal performance, the SGA should be large enough to avoid frequent disk reads and writes.
The SGA has several subcomponents as listed in the following table:
|Buffer Cache
|Before any data stored in the database can be queried or modified, it must be read from disk and stored in memory. The buffer cache is the component of the SGA that acts as the buffer to store any data being queried or modified. All user processes connected to the database share access to the buffer cache.
|Shared Pool
|The shared pool caches information that can be shared among users. Some examples:
|Redo Log Buffer
|This buffer improves performance by caching redo information (used for instance recovery) until it can be written at once and at a more opportune time to the physical redo log files that are stored on disk. Redo information and redo log files are discussed in "Redo Log Files".
|Large Pool
|This is an optional area that is used for buffering large I/O requests for various server processes.
|Java Pool
|The Java pool memory is used for all session-specific Java code and data within the Java Virtual Machine (JVM)
|Streams Pool
|The Streams pool is used by the Oracle Streams product.
A program global area (PGA) is a memory area used by a single Oracle server process. A server process is a process that services a client's requests. Each server process has its own private PGA area that is a nonshared area of memory created by Oracle when a server process is started.
The PGA is used to process SQL statements and to hold logon and other session information.
The amount of PGA memory used and its content depends on the instance configuration, that is, whether the instance is running in dedicated server or shared server mode.
See Also:"Managing Memory Parameters"
Oracle creates a set of background processes for an instance that interact with each other and with the operating system to manage memory structure, asynchronously perform I/O to write data to disk, and do general housekeeping. The background processes consolidate functions that would otherwise be handled by multiple Oracle programs running for each user process. They asynchronously perform I/O and monitor other Oracle processes to provide increased parallelism for better performance and reliability.
There are many background processes and not all may be present depending upon the features that are being used in the database. The most common background processes, and ones that most directly affect you, are the following:
|Background Process
|Database Writer (DBWn)
|The database writer writes modified blocks from the database buffer cache to the files on disk. Oracle allows a maximum of 20 database writer processes.
|Log Writer (LGWR)
|The log writer process writes redo log entries to disk. Redo log entries are generated in the redo log buffer of the SGA and the log writer process writes the redo log entries sequentially into an online redo log file.
|At specific times, all modified database buffers in the SGA are written to the datafiles by a database writer process (DBWn). This event is called a checkpoint. The checkpoint process is responsible for signalling DBWn at checkpoints and updating all of the datafiles and control files of the database to indicate the most recent checkpoint.
|System Monitor (SMON)
|The system monitor performs crash recovery when a failed instance starts up again.
|Process Monitor (PMON)
|The process monitor performs process recovery when a user process fails. It is responsible for cleaning up the cache and freeing resources that the failed process was using.
|Archiver (ARCn)
|When the database is running in archive log mode, one or more archiver processes copy the redo log files to archival storage when the log files are full or a log switch occurs. For more information, see Chapter 9, "Performing Backup and Recovery".
The database instance can be started (made available) only by an authorized database administrator who has a special type of connection privilege to the Oracle instance. After the database instance has been started, it is usually open for access by normal users for whom database user accounts have been created. Later, you will learn how to start up and shut down an Oracle instance and database in "Shutting Down and Restarting the Instance and Database".
This section describes the process of starting the Oracle instance and database and the creation of server processes that enable user access.
The administrator who starts up the Oracle instance and database must connect to the instance with a special kind of connection privilege. There are two of these privileges:
SYSDBA for fully empowered database administrators and
SYSOPER for users who operate the database, but have no privileges to access user objects. Authorization to use these privileges occurs either through the operating system or through a special password file.
When you create an Oracle database, there are two primary administrative user accounts that are automatically created:
SYS and
SYSTEM. Both of these users have full database administration privileges granted to them, but only user
SYS can initially connect with the
SYSDBA privilege.
The process of starting the instance and database is as follows:
You start the instance in one of the following ways:
Use Oracle Enterprise Manager. See "Shutting Down and Restarting the Instance and Database".
Use the
STARTUP statement using SQL*Plus. See Oracle Database Administrator's Guide.
On Windows, you can start the Oracle services. See "Starting and Shutting Down the Database Instance on Windows".
Oracle reads the initialization parameter file, allocates SGA memory, and starts the background processes for the instance.
If you also specify that the database is to be mounted, then the instance opens the database control file. The database is now said to be in the mount state. This state enables administrators to perform certain administrative functions that cannot be performed when other users are accessing the database.
If you specify that the database is to be opened, then the instance opens the redo log files and datafiles for the database. The database is now open and available for all user access.
The default startup behavior is to complete the three stages as described earlier. Unless you explicitly specified otherwise, the instance will be started, and the database mounted and opened.
The process is reversed when you shut down the database.
You issue the statement to shut down the database by similar means as explained in "The Startup Process". Any modified data blocks that are cached in the SGA that have not been written to disk are now written to disk. The redo log buffer is similarly flushed. Datafiles are checkpointed and their headers are marked current as of the time the database was closed. Datafiles and log files are closed. Users can no longer access the database.
The Oracle instance dismounts the database and updates relevant entries in the control file to record a clean shutdown. The control file is closed. The database is now closed and only the instance remains.
The Oracle instance stops the background processes of the instance and deallocates the shared memory used by the SGA.
In addition to background processes, Oracle creates server processes that handle the requests of user or client processes that connect to the instance. A user connection is composed of two distinct pieces:
A client program acting on behalf of the user, such as Oracle Enterprise Manager, SQL*Plus, or an application
A server process that handles the connection to the database on behalf of the client program
In some situations when the client and Oracle operate on the same machine, it is possible to combine the user process and corresponding server process into a single process to reduce system overhead. However, when the client and Oracle operate on different machines, a user process always communicates with Oracle through a separate server process.
Server processes can be either dedicated or shared. In dedicated server mode, each client process has its own server process. While a dedicated server process is good for long running queries and administrative tasks, an idle process or too many dedicated processes can result in an inefficient use of resources.
Shared server mode eliminates the need for a dedicated server process for each connection. A dispatcher directs multiple incoming network session requests to a pool of shared server processes. An idle shared server process from a shared pool of server processes picks up a request from a common queue, which means a small number of shared servers can perform the same amount of processing as many dedicated servers. Also, because the amount of memory required for each user is relatively small, less memory and process management are required, and more users can be supported.
Shared server mode is more efficient at supporting multiple users and clients making frequent short-running queries.
Oracle Net is a layer of software that allows different physical machines to communicate to access an Oracle database. Oracle Net runs on the client machine and on the database server. The client machine and the database server are often the same machine.
Oracle Net enables the client and server to communicate over a network using many popular network protocols, and it provides location transparency such that the client machine does not need to know the server's location. When the database is moved to another location, you only need to reconfigure Oracle Net. No changes are necessary to client applications.
Oracle Net must be separately configured and started for it to handle client connections to the database. You can configure Oracle Net using Oracle Enterprise Manager or with a separately launched GUI tool called the Oracle Net Manager. To learn more, see Chapter 4, "Configuring the Network Environment".
When an instance starts, a listener process establishes a communication pathway to Oracle. When a user process makes a connection request, the listener determines whether it should use a shared server dispatcher process or a dedicated server process and establishes an appropriate connection.
Instance management involves configuring parameters that affect the basic operation of the database instance. These parameters are called initialization parameters. The Oracle database server reads these parameters at database startup and monitors them while the database is running. They are stored in memory, where many of them can be changed dynamically. There are two types of parameter files, and whether these dynamic changes are persistent across database shutdown and startup depends upon the type of parameter file you are using.
Server parameter file
This, the preferred form of initialization parameter file, is contained in a binary file that can be written to and read by the database server. It must not be edited manually. It resides on the machine that Oracle is running on, and is persistent across shutdown and startup.
Text initialization parameter file
This type of initialization parameter file can be read by the database server, but it is not written to by the server. In this file, you can set initialization parameters with a text editor for them to be persistent across shutdown and startup.
If you need to shut down and later restart your instance or database, you can do this with the Shutdown or Startup button, under the General heading on the Database Home page as shown in Figure 5-1, "Shutdown/Startup Button on Home Page".
Figure 5-1 Shutdown/Startup Button on Home Page
The first page to appear is Startup/Shutdown: Specify Host and Target Database Credentials. This page requires you to log in to the machine that Oracle is running on, and into the database itself with
SYSDBA or
SYSOPER privileges. The next screen enables you to shut down the database, or start up the database, specifying options.
You can start and shut down your Oracle database with the Windows Services program. To start Oracle, you must start three services:
OracleService<SID>, which is your Oracle Database instance
Oracle<oracle_home><SID>TNSListener, which is your listener; required to allow clients to connect to your database
Oracle<oracle_home><SID>DBConsole, which enables clients to connect to Enterprise Manager
To start these services:
From the Control Panel, select Administrative Tools->Services. A list of all available services on your system appears.
Locate the three Oracle services listed earlier. For example, if your SID is
Sales1 and Oracle home is
OraHome10, then locate the following services:
Start all three services. You can start a service by right-clicking the service, and selecting Start. You can also choose Start from the Actions menu. If you double click the service, the service properties page appears where you can Start or Stop the service, and select your Startup Type.
To shut down the database, you do the reverse: locate the services and stop them, by selecting Stop from the Actions menu.
When you install one of the preconfigured databases provided by Oracle, the initialization parameters are optimized for normal use in the environment that you specified. It is not necessary for you to alter any initialization parameters at this time. The steps described in this section will familiarize you with the initial parameter setting for your database and indicate how to modify parameters.
To view or modify the initialization parameters for your database:
From the Database Home page, click the Administration property page. The next page that you see is the Administration home page shown in Figure 5-2.
Figure 5-2 Database Administration Page
Click All Initialization Parameters under the Instance heading.
Enterprise Manager displays the Initialization Parameters page comprised of a table listing the current value of each initialization parameter as seen by the database instance. You can also use this page to alter initialization parameter values, using the Show SQL, Revert, and Apply buttons.
There are two property pages shown on the Initialization Parameters page:
Current—The table on this property page displays all of the initialization parameter values currently seen by the database instance (in memory).
You can use this page to make dynamic changes to parameters in the current running instance. Only parameters marked dynamic can be changed. To do so, enter a new value and click Apply.
SPFile—This property page is present when you are using a server parameter file, whose location is displayed a the top of the table. This property page shows parameter settings in the server parameter file.
Changes to parameter settings in this file are persistent across instance startup and shutdown. To make persistent changes to an initialization parameter, enter the new value and click Apply. You can optionally apply changes to the current running instance by checking Apply changes in SPFile to the current running instance. If you do not check this box, your changes will not take effect until the database is shut down and restarted.
Parameters marked as Basic represent a small subset of all initialization parameters, and are considered necessary to keeping the database running smoothly.
As the number of database users grows and workload increases, you might need to alter some initialization parameters. You can make these changes directly using the Initialization Parameter page as described, or indirectly using one of the advisors provided by Oracle. One such advisor, the memory advisor, is described in "Managing Memory Parameters".
Some initialization parameters, referred to here as memory parameters, determine the total size of the system global area (SGA) and the program global area (PGA), and of the subcomponents of the SGA. The settings of memory parameters can affect the performance of your database. When you install your database, these parameters are tuned to meet the requirements of the environment that you specify.
If you enabled Automatic Shared Memory Configuration when you configured your database, Oracle automatically sizes the subcomponents of the SGA, which include the shared pool and buffer cache. Oracle recommends that you enable memory auto tuning.
If Automatic Shared Memory Management is disabled, you can enable it on the Memory Parameters page. You can navigate to this page from the Administration page by clicking Memory Parameters under the Instance heading. From this page you can enable or disable Automatic Shared Memory Management and view your SGA and PGA memory settings from their property pages.
To modify the size of an SGA subcomponent without shutting down your instance, you can disable Automatic Shared Memory Management on the Memory Parameters page. With the Advice button on the Memory Parameters page, the Memory Advisor (discussed in "Using the Memory Advisor" in Chapter 10, "Monitoring and Tuning the Database") gives you advice on optimal memory settings. If you choose to modify your memory settings manually, you can enter new sizes and apply changes dynamically while the instance is up. You can also do so from the Current property page on the Initialization Parameters page. However, there are some restrictions on dynamic modification of memory parameters. For more information, see Oracle Database Administrator's Guide.
To make changes to memory parameters persistent across instance startup and shutdown, you must alter your parameter file. You can do so by navigating to SPFile property page from the Memory Parameters page and making your changes there.
See Also:Oracle Database Performance Tuning Guide for more information about memory parameters and their tuning
Oracle by Example (OBE) has a series on the Oracle Database 2 Day DBA book. This OBE steps you through the tasks in this chapter, and includes annotated screen shots.
To view the Instances OBE, point your browser to the following location:


text:
Here's one very simple sweets recipe that's very much welcome all year round especially during the holidays. My youngest was especially proud of this since she did most of this for her Girl Guides confectioner's badge. Granting that was more than 4 years ago, this post took sometime to publish I have to admit.
Some versions of rocky road involves biscuits both in chunks and crumbs. We prefer this version adapted from 101 Cakes & Bakes by BBC GoodFood magazine where no biscuits mar the beauty and deliciousness of chocolates, nuts, marshmallows plus our preferred Maltesers.
Rocky Road
500 g milk or dark chocolate - broken into pieces
10 marshmallows - cut into small pieces*
85 g pecans, walnuts, or almonds (or combination) - roughly chopped
200 g Maltesers (optional)
- Melt chocolate in a heatproof bowl over a saucepan of simmering water. Cool a little.
- Add in the rest of the ingredients, mix well.
- Pour mixture into an 8-inch (20 cm) square baking pan lined with baking paper.
Leave to set for around 2 hours.
- Remove from baking pan and cut into 1-inch squares with a knife dipped in hot water and wiped.

subset: commoncrawl


text:
Wednesday, Jul 26 2017
at Cheekye Ranch
Friday, Jul 28 2017
at Cheekye Ranch
Friday, Jul 27 2018
at Cheekye Ranch
We (ticketZone.com, and our parent company myZone Media Inc.) share our customer's concern for the protection of their privacy and their personal information. Whether you are simply browsing our site, conducting basic transactions (as a customer or client), or being an involved participant in our content, social network, and marketing, we want you to know what information we are collecting, how and why we gather it, and who we share it with.
We've created this privacy policy to provide our customers, clients and anyone who has given us information through any use of our websites, phone system, and email newsletters a complete description of our practices and their options as a visitor to our site or as a user of our services. This privacy policy applies to the practices of ticketZone. We work with a variety of third parties who may have their own privacy policies, and we encourage you to seek out information about their practices.
Because our offices and servers are in Canada, our privacy policy is drafted according to Canadian law. Because our website can be accessed from outside of Canada, however, by using our site or services you may engage with businesses located outside of Canada that may be subject to less or more restrictive laws regarding the collection and handling of your information.
Before using our website, purchasing goods or services through our online or phone system or opting into our newsletters or media programs, please read this privacy policy thoroughly. By visiting the website or using our services, you are acknowledging and accepting the information gathering and sharing practices detailed below. You can contact us anytime with any questions, concerns, or comments, or to request further information regarding our privacy policy by writing to:
c/o MyZone Media Inc.
704, 73 Water Street
Vancouver, British Columbia V6B 1A1
You may also submit questions or request further information by emailing us through our help system at: firstname.lastname@example.com
Please note: As our company grows and evolves, we may update this privacy policy so that it remains relevant to our practices. Our privacy policy will always be dated as of the most recent update. Please check back here regularly to ensure that you may be informed of the most current version of this privacy policy.
1. Collection Methods
ticketZone collects your information both passively (by having you provide it to us) and actively (through technologies such as cookies, web beacons, and Google Analytics, as well as through cooperation with partner businesses and third parties).
a. Passive Collection
As a customer, client, participant in our social network and marketing practices, you may provide us with personal contact details such as your name, information (phone number, email address, postal address, etc.), billing details (including your billing address, credit card details, etc.) and other information you may be prompted to provide.
This information may be required to purchase tickets, goods or services, or to participate in various contests or promotions. While you have the right to withhold your personal information, doing so may prohibit you from conducting transactions, accessing either e personal or company account, participating in contests, and so on. You may also be prompted to provide demographic information, such as your age and gender. We may collect, store, and share this information in order to analyze our business, cater advertising and content to you, etc.
b. Active Collection
In addition to information that you provide to us, we may also actively collect information (both personal and non-personal) through active data gathering practices, using technologies such as cookies and web beacons, and through sharing with our clients, partner businesses, and third parties. We may use cookies to personalize your experience on the site, track your activity on our site, identify you anonymously, and to gather information about your browser type and language.
Cookies, web beacons, Google Analytics, and other technologies can be used to determine referring websites, what kind of searches you conduct, and more. While you may set your browser security settings to prohibit us from assigning cookies, certain features of our site may not be functional without cookies (you may not, for example, be able to log in to a personal client or customer account). Information collected via tracking technologies is not linked to PII.
We may also actively seek out personal and non-personal information from third parties, including partner businesses and advertisers. ticketZone may allow these third parties to incorporate cookies, web beacons, and other technologies to collect information. This information, in general, is used by these outside parties to help focus their advertising or better understand how effective their services are on our site.
2. Types of Information Collected
ticketZone and our parent company myZone Media Inc. collect two different kinds of information:
a. Personal
In general, ticketZone collects personal information in order to verify your identity. This may include your name, email address, postal address, phone number, username and password, etc. We may also collect billing information to facilitate transactions such as ticket sales and purchases. This may include your bank account number, credit card number, pin number, expiration date, etc. You have the right to withhold your personal and billing information, however doing so may prohibit your ability to use in our site or conduct transactions with us or our partners, clients, and third parties.
We may also collect personal demographic information. This may include your gender, age, and preferences related to the use of our site and services. Finally, we may collect personal information about your specific activity on the site. This may include which pages you view, how often you visit, how long you spend on the site, which advertisements you click through, your purchasing habits, etc.
b. Non-Personal
Secondly, we may also collect general statistical information not personal to you specifically. Using technologies included but not limited to those listed above and by sharing information with our partners, clients, and third parties, we may gather, store, and share information regarding the general use of our sites and services. For example, in order to monitor our business and keep our investors, partners, and third parties informed, we may collect and share aggregate information such as average or periodic impressions, advertising statistics, etc. The non-personal information we collect may be gathered directly or combined with non-personal information from other websites or outside parties. Non-personal information may also be gathered by cookies and other web technologies.
3. Information Sharing Practices
a. Why We Gather Information
There are a variety of reasons that we may collect information, both personal and non-personal. Information may be gathered to analyze our business, identify you, verify your transactions, customize your experience on the site, for marketing purposes, etc. Information you provide us may be sent to servers around Canada and around the world. We may also store your information for future use. Most information is used to facilitate your purchasing experience on ticketZone. This may include fraud protection and identity verification, delivery of your tickets (or other products and services you are obtaining from ticketZone), and support for your customer or client account or transactions.
With your consent, we may contact you by telephone, email, postal mail, and other mobile devices to offer support or to advertise on our own behalf or that of partner businesses and third parties. We may also use your information to analyze your use of our site, products, services, content and so on. This is to help us customize your experience, develop content, and offer you additional products or services. Additionally, your personal and financial information may be necessary to process refunds, credits, fight fraud and chargebacks.
b. Sharing Your information
Your information may be shared with our business partners and related companies. This may include advertisers, partner businesses, and third parties who provide services for our site. Third party service providers may be used by ticketZone to fulfill orders and process payments. Shipping carriers and marketing parties may also receive your information. While using ticketZone, you may click through to outside websites operated by third parties. Clicking on an advertisement, for example, may take you to a different website. Our privacy policy does not apply to any third party website, and their collection, sharing, and use of your personal information is subject to their own privacy practices.
It is wise to look for privacy policies on any third party website you navigate. Third party websites that can be navigated to from our site may share information with us that they collect independently.
Your information may also be shared with event promoters and staff, including artists and their management, venues, and so on. ticketZone does not plan or produce events, and promoters of events for which you have purchased tickets may use your information to contact you, analyze their business practices, etc.
We may also share your information in response to any legal action that ticketZone or any of our partner businesses/third parties may be engaged in. This includes a response to a subpoena, warrant, court order, legal process or a request for cooperation from government or law enforcement, or for our own fraud protection.
We may also disclose information in the event of a large corporate transaction, such as a merger, sale, or bankruptcy involving ticketZone.
4. Protecting Your Information
We have both electronic and personnel security measures in place to ensure that your information is protected, and to prevent fraudulent use of your information. Personnel access to your information is limited, and the appropriate information storage security measures as required by law have been implemented. All sensitive information gathered on the site is protected with SSL encryption. ticketZone is open to the public and does not monitor the age of users. In collecting personal information, we do not purposely gather information from children under the age of 13.
5. Your Options
By visiting ticketZone or related websites, you are acknowledging and consenting to our information collection, storage, and sharing practices detailed in this privacy policy. You may elect not to provide information when prompted, but doing so may make affect the functionality of certain functions of the site(s).
You may also adjust the security settings on your browser to block cookies and other web technologies. This may also impair certain functions and services we provide.
If you have an account with us as a customer, client, or member of a social network, you may access, change or update your information by logging into your account or by contacting us through our help system at firstname.lastname@example.com.
You may chose to close your account by contacting us through the help system. However after closing the account you may no longer have access to that account's information, and we may retain information from the original account. We may retain this information for the accuracy of our record keeping, accounting, and to assist with fraud protection, fee collection, the enforcement of our terms and conditions, and any other legal action that may be permitted by law.
You may opt out of our email newsletters by clicking the "Unsubscribe" button at the bottom of the newsletter.
If we decide to change our privacy policy, we will post those changes to this privacy statement and other places we deem appropriate so that you are aware of what information we collect, how we use it, and under what circumstances, if any, we disclose it. We reserve the right to modify this privacy statement at any time, so please review it frequently. If we make material changes to this policy, we will notify you here, by email, or by means of a notice on our home page.
If you have questions or concerns regarding this statement, you should first contact email@example.com or send a message to the Customer Service profile.
ticketZone.com is a third party ticketing service. We do not operate these events and cannot control unforeseen circumstances which may occur at an event. Please read the following terms and conditions carefully as this is a binding contract between yourself and ticketZone. By marking the Terms of Purchase agreement and by completing your transaction you are agreeing to the terms of purchase. Please contact the producer of the event for their own terms of purchase and refund policies.
1. Refund Policy
All sales are final. There are no refunds, no cancellations, no credits, no exchanges, and no transfers after the order has been made. Unforeseen circumstances beyond ticketZone's control will not be grounds for a refund, including but not limited to the following: local or national weather conditions and natural disasters, waiting in lines, family and medical emergencies.
Promoters, Venue owners, Security and Event Staff have the right to refuse entry to any ticket holder, without a refund, for any reason at their discretion, including but not limited to: disorderly behavior, intoxication, venue capacity, breach of security restrictions. Ticket holder is aware that the Venue and Talent are subject to change. Ticket holder is aware that amenities promised by promoters are not guaranteed by ticketZone and are not grounds for a refund, including but not limited to VIP amenities, drink specials, gifts, express entry, special areas, celebrity guests.
2. Canceled Events
If the event is canceled you will receive a refund for the face value of the ticket; service, shipping, and other fees are non-refundable under any circumstances. If the service fee is not listed, it may be embedded into the price of the ticket. To inquire about the amount of an embedded service fee, please contact firstname.lastname@example.com. Tickets purchased at a retail outlet must be refunded at the retail outlet.
3. Postponed Events
If the event is postponed, you are eligible for a refund for the face value of the ticket, however you must submit an e-mail inquiry to firstname.lastname@example.com within five days of the originally scheduled event requesting a refund. Tickets purchased at a retail outlet our anywhere other than ticketzone.com must be refunded at the original point of purchase.
4. Customer Inquiries
All customer support is handled by the ticketZone online message system, in which case all customer support and refunds are handled by the event producer. Please contact email@example.com. All inquiries related to attended events must be made within five days following the event.
5. Will Call
Will call tickets must be picked up at the venue unless otherwise noted. Tickets left at will call will not be refunded. Will call start and end times are subject to change and are not grounds for a refund. You must present the original credit card used to purchase the ticket, a valid picture ID, and your "e-ticket" receipt. If you are unable to pick up your order because you do not have the aforementioned items in your possession at the time and place of pickup, you will not receive a refund for this purchase.
6. Print@Home / E-Tickets
Print@Home / E-Tickets must be presented at the event. To print out your ticket, please visit your account purchase history. You may also present your Print@Home / E-ticket using a smart phone and visiting your account purchase history.
7. Shipping and Handling
The shipping and handling fee is non-refundable. Express tickets require a signature upon delivery and cannot be shipped to PO Box Addresses. All other shipping methods do not require a signature. Allow approximately 5 business days for delivery. Tickets will be delivered to the billing address of the credit card. If you enter an undeliverable address or if the tickets are returned unclaimed you will not receive a refund. International shipping is not available.
8. Release of Liability
ticketZone is not affiliated with the events or event sponsors and ticketZone will not cover losses or damages arising from your voluntary participation in the events, including claims for personal injury, or damage to personal property, or any other claims for negligence on the part of the events or event sponsors. By purchasing the tickets through ticketZone, you hereby release and forever discharge ticketZone, and its officers and agents, from any liability or claims for damages that may arise as a result of your attendance and participation at the events. It is hereby understood that the purchase of tickets by you and your participation in the events shall not be construed as an assumption on the part of ticketZone of responsibility, liability, or control of the events.
9. Publicity
You understand that by attending the event you may be photographed and/or recorded as part of the event's publicity materials and/or a recognized media outlet. You grant permission for your likeness and/or voice to be included therein without compensation, credit or consideration, in any publicity materials.
Effective date of this policy is February 13, 2017. Revised January 1, 2020
Please check your email and follow the instructions to change your password.


text:
Healey Chevrolet, Buick
- Price$0.00
New Hampton, Orange
New York, USA
Healey Brothers is proud to be the Hudson Valley's premier authorized automobile dealership representing Chevrolet, Buick, Ford, LINCOLN, Chrysler, Dodge, Jeep, Ram, Kia, Hyundai and Mitsubishi vehicles. Our showrooms and factory authorized service centers are conveniently located in Goshen, Vails Gate, Beacon, Middletown and Poughkeepsie, New York - minutes from I84 or Route 17.
Healey Brothers has been servicing the New York, Connecticut, New Jersey and Pennsylvania area for over 40 years. We take pride in treating our customers with honesty, trust and respect. You can depend on Healey Brothers to provide you with the proper information you need in buying or servicing your next new or pre-owned vehicle. We have over 1000 of the finest vehicles available for you at our facilities. Combine that with our famous customer service and exceptional value and there is absolutely no reason to purchase or service your vehicle anywhere else.
- Posted on: 2013-05-15 01:39:26
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2002 Suzuki Liana GLX
Suzuki's compact car, slotting above the well-regarded Swift, is the Liana (called the Aerio in North America and Japan). The European model's name is an acronym for the phrase "Life in a New Age," which isn't a reference to Earth-friendly alternative lifestyles or 1980s music, but rather to the Liana's appeal to the youthful, forward thinking buyers it hopes to attract. Due to a combination of cheeky aesthetics (like the digital dash display) and a lucky break in being selected as the first "Star in a Reasonably Priced Car" vehicle for the launch in 2002 of that segment on the BBC series TopGear, the Liana got a lot of attention in Europe. Despite being out of production since 2007 in most of the world, the Liana is still being produced for buyers in China and Pakistan. It's also still being used on TopGear, occasionally being pulled out of semi-retirement when F1 drivers come to visit the TopGear Test Track.


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Click on underlined text to follow links. If you have trouble, email me and I'll send you direct links.
The power of #
I tweet—sort of—mostly I just flitter around on Twitter and see what other people are doing. Admittedly, I am not very good at Twitter, but it's something that I believe is a good tool, and I have plans this summer to work harder at using it effectively.
If you're on Twitter—or even if you're not but want to get started—it's worth it to take a look at some of the incredible ways that you can use it to improve teaching and learning.
Trust me, I started sloooowwww and with a # to help guide me in figuring out who to follow and how to use it. A hastag (#) is a way to indicate a specific topic on Twitter. It's a searchable tag that allows other users to find people talking about their interests.
I started with #tlchat (teacher librarian chat), and I can't adequately describe to you how the power of that one little hashtag has changed my outlook on my job and has helped to connect me with a network of people from all over the country who are passionate about their careers. The wealth of knowledge available and the number of ideas that are shared are almost overwhelming!
So, what are the hashtags? Google "Twitter Education hastags" and you'll get—no lie– over 2 million results. Some to start with, according to Edudemic "The 2012 A-Z List of Educational Twitter Hashtags" are:
· #edchat—educational chat from all over the US and World, lots of people use this!
· #kinderchat—related to kindergarten
· #edtech—I like this one, it relates to technology in education and you can usually get a lot of links and ideas
· #edapp—educational app suggestions for those of you with iPads
· #mathchat—math
· #scichat– science
· #engchat—English
· #spedchat—Special Ed
· #flipclass—Flipped Classroom
· #SSchat—Social Studies
The list literally goes on and on, and there is a hashtag for each grade level, and you'll even find them for administrators, counselors and AP classes.
One of the things that I have discovered and am loving is that educational groups often meet to have live Twitter chats using these hashtags. I have only participated in three so far, but I look forward to continuing discussion in the future. If you use Twitter often and if you search the hastags, you'll find that you'll start seeing people post about when these chats are going to be. If you're not on Twitter often, you can check The Educational Twitter Chats Calendar to see if your content area will be chatting any time soon. This is a great way to find people to follow and to also find out what current trends are and what resources people are using. I have found topics to be timely and relevant to my own needs, and have discovered many fascinating professionals this way!
Need more info? Check out this 10 minute videos: Twitter for Teachers on Edudemic—or email me and we'll figure it out together
How to search Twitter
If you're new to Twitter, start by searching for the hashtags either on your phone's app or on the Twitter web page.
To do that, just click in the search box at the top of the page and type in # and the education hashtag of your choice.
This is the basic way to follow a chat as well. If you see that there is going to be a chat soon, you can simply type in the hashtag at the specified time and watch the chat develop. If you want to check it out, there's an #edchat every Tuesday afternoon from 12-1 and again on Tuesday evening at 7. Often, someone will post a link on Twitter for an archive of the chat, that way you don't miss anything if it's going too fast.
If you find someone you want to follow this way, just click on their post, and using the app, click the picture of the icon that has the bird and + sign.
Summer is the perfect time to learn about Edmodo
This is year was the first year I really dabbled with Edmodo. Edmodo is a social media learning platform that I used in the library as a place for third graders to share research and post about books they've been reading.
While the kids were really excited to give it a try—and some of them use it on their own—I would say that I have a long way to go to unlock the full potential.
The site is an excellent platform for flipping your class, extending discussion or for the trending "Gamification" by allowing you to assign badges to students for completing tasks. There are also a wide range of applications available for purchase and for free, in addition to a plethora of resources to explore through the Discover Icon.
As with many forms of technology, I think one of the best ways to learn how to use Edmodo is to jump in and play around with it and then of course share! And, the great part is, we can use Edmodo to learn and share together.
To do this, follow this Group Link for a PLN class I created (Professional Learning Network) and if you haven't already, create a free teacher account on Edmodo and we'll begin learning together.
I've already got a how to article posted that will help us get started making connections with other teachers.
Email me if you need help!


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This lesson will explore the theory and purpose of a series,
parallel, and series-parallel (combination) circuits.
This site is managed by Butte County Office of Education's CTE Center
and maintained by the
Center for the Advancement of Digital Resources in Education(Cadre).
With collaboration from the
Career & College Transition Division
and funded in part by the California Department of Education.
© 1999-2018 BCOE CTE Center / Cadre.
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Except where otherwise noted, content created on this site is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 License.


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Vital Design necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 39 diseños de 16 diseñadores freelance.
The Battle River "Shock" football team needs a creative, fun, strong Logo to be displayed on hats, helmets, jerseys, business cards, letterhead etc. There should be a graphical logo with the words Battle River Shock accompanying it. "Battle River" should be a secondary focus. "Shock" should be a primary focus. The colours are dark red and black.
Battle River Shock
The Battle River Shock are a local football team for kids age 15-17. They are based in rural Alberta. They need a creative, fun and strong logo to be placed on everything from helmets to business cards.
The colours are to be dark red and black, a one colour black(or white) version is also needed.
The word "Shock" is to represent 3 things, as per the definition of the word: electrical discharge, sudden collision(football!), and sheaves of wheat(being they are rural Alberta based).
The graphic portion of the logo could be a sheave or head of wheat that has an electrical style to it, although alternate ideas will certainly be considered.
As a complete logo for most uses, the words "Battle River" should be a secondary focus and the word "Shock" the primary focus, along with the graphic.
The jersey will only have the word "Shock" on it, just above the numbers, not the graphic or the "Battle River". The jersey pattern can be seen here: http://www.savagefire.com/shock/jersey.jpg
As a final file format AI is preferred.
- Creative
- Fun
- Strong
- Electric
- Sporty
- Black & Red
- Vector
- Cartoon
- Too many colours
- Too much detail
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Books in the Library
|HIV/STI Testing
- Program/Event:
- HIV/STI Testing at the Center
- Event status:
- Confirmed
- Event date:
- Monday, October 15, 2018 6pm - 7:45pm
- Location:
- LGBT Center of Raleigh, 324 South Harrington Street, Raleigh NC 27603
- Center Room:
- Testing Area
- Event Contact:
- LGBT Center of Raleigh
- Contact Phone:
- 919-832-4484
- Contact E-mail:
- email@example.com
Free, confidential testing for HIV and other Sexually-Transmitted Infections is provided at the LGBT Center every Monday and Thursday evening. Please arrive before 7:45 pm. Thanks!
We devote the last 30 minutes of testing (7:30-8:00) to results only. We would like to ensure that the testing process flows as smoothly as possible. So if clients would like test results, they must come at 7:30 rather than at any other time during the testing period.
Confirmation Needed
Loading content...


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If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed.
Here you can ask us to reupload any kind of seo tools, freebies etc... dead links.


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Darkroom/Resources/Samurai camera
The Yashica Samurai X3.0 was donated by Mike Kahn. It's a half-frame 35mm camera
"(1988) The Samurai X3.0 was the first model of a series of ergonomic (built-to-fit-the-hand for one-hand operation), half-frame, "bridge" SLRs that Yashica manufactured beginning in 1988. It is a true SLR camera which makes it stand out from many point-and-shoot cameras, as does its half-frame format. The zoom covers a useful range -- 25-75mm in half-frame, which gives an image size approximately the same as a 35-105mm zoom in full-frame. The lens is threaded for a standard 49mm filter, and gives effective f-stops from f3.5 at wide angle to f4.3 at telephoto. The viewfinder has an adjustable diopter to fit sharpness to the user's vision. Shutter speeds range from 2 sec. to 1/500 sec. The shutter speeds and aperture are automatically set by the camera, and there are no manual settings. But there is a built-in flash which can be turned off, turned on, or left to operate in various automatic modes. An addition, a built-in hot-shoe allows for the use of more powerful flash units. The exposure, film advance and focusing are strictly automatic. The standard model is black, but the control buttons came in different colors, such as red, grey and green. Various accessories were available, such as wide and tele lens converters, cases, straps, etc. Uses one CR5 battery. There are several "sub-models". The most common is the left-handed version. There was also a clear, fully functioning model for demo purposes. Last, but not least was the Grand Prix 88, often called the gold version -- but it just has a gold shutter release and lens cap."
--From: Yashica documentation
Loan Log
- 06/2011 - borrowed by User:Hurtstotouchfire, shot successful test roll
- 19:30, 18 April 2012 (UTC) borrowed by Martin


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Picture Display Systems
Hanging a picture has never been easier!
Hanging a picture has never been easier!
Picture hanging systems – A picture rail for everybody!
Hanging a picture has never been easier! We offer a complete range of hanging systems which enable you to hang your pictures quickly and easily in every situation.
STAS' picture rail can be mounted to all types of wall and ceiling. The possibilities are endless, our patented picture hanging systems can be used to hang pictures on plaster walls, drywall, brick walls, etcetera.
Mounting the picture rail is very easy. Changing wall decorations, pictures, paintings or photo frames couldn't be easier using the matching picture hooks and cords. Hang multiple picture frames and make your own collage in a matter of seconds. Moreover, using our picture hanging rails you don't need to drill ugly holes in your walls anymore. Once the picture rail is installed, you can organize and rearrange your pictures time and time again without using nails or screws. It's an investment that you will benefit from during the total time of occupancy in your home, office or building!
The STAS picture hanging systems website presents numerous different ways and solutions to help you hang your pictures safely, flexibly and elegantly. It offers mounting videos and ideas on how to hang pictures at your home or workspace, gallery, museum, school, university, hospital etc. Take a look at our products pages, there's bound to be an art hanging system that fulfills your needs!
Hanging pictures with STAS: the specialist in picture hanging systems!
Need help? Call our excellent support team 24/7 at +44(0)20 3764 2627


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Established in 2016 by Italian twin sisters Allegra and Desideria Tantalo, Marzoline offers high quality handcrafted Luxury Head Accessories. The collection invites you to explore a range of different styles of Turbans, Headbands and Twillys.
Brought up in Rome and London, both law graduates with a Master in Fashion Management, we were always united by a passion for accessories, fabrics and patterns. Marzoline was born from this passion. We believe our accessories to be exceptional and to add a unique touch to an outfit. A sense of opposite yet complementary attitudes defines the pieces of our collection: both fashionable and timeless, classic and sophisticated, Marzoline products reflect the duality that comes out of being twins.
Marzoline's added value is the Italian craftsmanship and elevated quality of each product, which are entirely Made in Italy in a historical Atelier owned by a very experienced Italian manufacturer and the brand reflects our commitment in supporting Italian craftsmanship and premium quality fabrics.


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The British painter Nigel Cooke combines realism with abstraction in canvases that seem to represent scenes of urban decay. In Cooke's atmospheric works—some of which measure more than twelve feet in length—foregrounds populated by detailed depictions of debris are juxtaposed with airy, nearly abstract backgrounds that evoke crumbling concrete walls tinged with graffiti. The Modern's FOCUS exhibition features seven works by Cooke, including one newly completed canvas making its debut.
Filtering ByAll X
Hiroshi Sugimoto: End of Time is the first major retrospective of one of Japan's most important contemporary artists, Hiroshi Sugimoto. This exhibition represents the first chance to survey Sugimoto's work in significant volume, including his series Dioramas, Seascapes, Theatres, Portraits, Architecture, Sea of Buddha, and Conceptual Forms. In addition, there will be a chance to see Colors of Shadow, a new series of color photographs of the artist's studio, which he designed himself.
Like many contemporary Japanese painters, Hiroshi Sugito (born in 1970) was trained in the traditional Japanese painting style known as Nihonga (Nihon means "Japan" and ga means "painting"). The Nihonga technique utilizes ground pigments made of natural materials such as minerals, shells, and coral applied to handmade paper. Sugito achieves a visual similarity to this technique in his paintings by using layers of acrylic paint. In his works he also refers to the formal spatial arrangements of Nihonga, and he further refers to Japanese traditio
For more than thirty years, Chuck Close has explored the art of printmaking in his continuing investigation into the principles of perception. This exhibition is the first comprehensive survey of Close's involvement and accomplishment with the varied forms and processes of printmaking. Featuring approximately one hundred works dated from 1972 to 2002, Chuck Close Prints illustrates the artist's range of invention in etching, aquatint, lithography, handmade paper, direct gravure, silkscreen, traditional Japanese woodcut, and reduction linocut.
The three bodies of work represented in FOCUS: Adam Fuss include images of water droplets, butterfly chrysalises, and children, and each of these series was produced with a different photographic technique. The water droplet images are photograms, a cameraless process invented at photography's inception in which light and chemicals produce a unique image on photo-sensitive materials. The pictures of children are gelatin silver prints, a standard twentieth-century darkroom method; and the chrysalises are pigment prints, a present-day process.
Sean Scully is one of the most admired painters working today. He works and exhibits throughout the world, with active studios in the United States, Spain, and Germany. Scully's Wall of Light series is his most important series to date.
Nicholas Nixon: The Brown Sisters has recently been acquired for the Modern's collection. This series of thirty-one black-and-white portraits of the artist's wife and her three sisters offers a compelling look at both portraiture and familial relationships.
British sculptor Cornelia Parker is fascinated with real-world processes that mimic cartoon "killings" and "deaths," such as steamrolling, shooting things full of holes, falling from cliffs, and explosions. Parker works with a variety of found objects, including silverware and marching band instruments, which she crushes, stretches, and suspends. She has also blown up structures, such as a garden shed, whose parts she then makes into a mobile that is hung from the gallery ceiling.
The inaugural Focus exhibition features the photography of Vera Lutter, who is inspired by the urban landscapes of big cities. The artist first began to capture the spirit and flow of Manhattan by experimenting with the principles of the camera obscura—turning her loft apartment into a large pinhole camera to create and print negative imagery. Lutter records the immediate inscription of light onto photo-sensitive materials, resisting further traditional processes that produce a positive image.
The first American survey of Anselm Kiefer's work in almost two decades, this exhibition includes more than sixty major paintings, watercolors, books, and sculptures created from 1969 to 2005. Anselm Kiefer: Heaven and Earth is organized by Michael Auping, the Modern Art Museum of Fort Worth's chief curator. The exhibition reveals the layers of meaning threaded throughout all of Kiefer's work, specifically tracking his life-long interest in a visual exploration of a dialogue between heaven and earth.


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NEW YORK (AP) - Stocks are edging lower on Wall Street after a report of tepid job growth last month.
NEW YORK (AP) � Stocks are edging lower on Wall Street after a report of tepid job growth last month.
Energy stocks fell more than the rest of the market after Chevron became the latest big energy company to report lower profits.
The Dow Jones industrial average was down 30 points, or 0.2 percent, to 15,569 in midday trading Friday.
The Standard & Poor's 500 index fell three points, or 0.2 percent, to 1,703. The Nasdaq composite was down two points, or 0.1 percent, at 3,673.
The government reported that 162,000 jobs were created last month, fewer than economists expected and the least since March.
The yield on the 10-year Treasury note fell to 2.63 percent from 2.71 percent.
Weight Watchers plunged 19 percent to $38.24 after reporting disappointing results and replacing its CEO.


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Edward Snowden, the NSA leaker who set off a worldwide debate about government surveillance, is speaking out in a rare interview with the Washington Post. NBC's Pete Williams reports.
National Security Agency leaker Edward Snowden said his "mission's already accomplished" and spoke of having "personal satisfaction" at the revelations about U.S. surveillance policies in an interview published Tuesday.
The former intelligence contractor, who exposed extensive details of global electronic surveillance by the U.S. spy agency, said he was not being disloyal to the U.S. or to his former employer.
"I am not trying to bring down the NSA, I am working to improve the NSA," he told The Washington Post. "I am still working for the NSA right now. They are the only ones who don't realize it."
It is the first full interview with Snowden, now 30, since he arrived in Moscow in June in a dramatic bid to evade prosecution by authorities in the U.S., where he is charged with espionage and felony theft of government property.
He has been granted temporary asylum by Russia, and remains at an undisclosed location, but his long-term future status remains unclear.
Snowden says he is working to improve the NSA http://t.co/AvGOnV6ZiQ pic.twitter.com/7lOj1sB1xc— Washington Post (@washingtonpost) December 24, 2013
"For me, in terms of personal satisfaction, the mission's already accomplished," he said in the interview, which was accompanied by what appeared to be new pictures. "I already won."
"As soon as the journalists were able to work, everything that I had been trying to do was validated," he said. "I didn't want to change society. I wanted to give society a chance to determine if it should change itself."
A report commissioned by President Obama recommends tighter legal control over the way an NSA data gathering program collects and use information it collects. NBC's Pete Williams reports.
President Barack Obama hinted Friday that he would consider some changes to NSA's bulk collection of Americans' phone records to address the public's concern about privacy. His comments came in a week in which a federal judge declared the NSA's collection program probably was unconstitutional. A presidential advisory panel has suggested 46 changes to NSA operations, The Associated Press reported.
Snowden also revealed himself to be "an indoor cat", adding that he rarely left the house where he was staying in Moscow.
"As long as I can sit down and think and write and talk to somebody, that's more meaningful to me than going out and looking at landmarks."
He also told the Post: "There is no evidence at all for the claim that I have loyalties to Russia or China or any country other than the United States," he said. "I have no relationship with the Russian government. I have not entered into any agreements with them."
"If I defected at all," Snowden said, "I defected from the government to the public."
The Associated Press contributed to this story
- Snowden offers to help Brazil spying investigation, hints at asylum request
- Snowden leak journalist: NSA spied on emails of Brazil and Mexico presidents
- NSA spy programs show that 'America doesn't trust its allies,' French former PM says
- Terrorists 'rubbing their hands with glee' at Snowden leaks, says UK spy chief


text: This exchange-traded fund owns fast-growing small-company stocks with strong price momentum. By Nellie S. Huang, Senior Associate Editor October 5, 2012 With all the attention given to large-company stocks lately, it's easy to overlook the oomph that their smaller siblings can provide. Consider this: Since 1926, small-capitalization stocks have outpaced their larger brethren by an average of two percentage points per year. That's not surprising—after all, the smaller a company is, the more room it has to grow. Over the past ten years, Standard & Poor's 500-stock index, a measure of large companies, returned 7.0% annualized, but small caps gained 9.4% per year. SEE ALSO: Our Special Report on ETFs Sponsored Content Investors looking for exposure to small, fast-growing companies should consider Guggenheim S&P Smallcap 600 Pure Growth (symbol RZG). The ETF tracks an index that uses a proprietary S&P ranking system to home in on firms with a three-year history of above-average earnings and sales growth, as well as above-average share-price momentum. (The theory of momentum investing is that things in motion, including stock prices, tend to stay in motion.) The Pure Growth index focuses more sharply on growth than the S&P Smallcap 600 Growth index, which itself contains fast-growing small caps. Pure Growth weights firms using the S&P ranking system—the higher a firm's growth score, the bigger its weight in the index. But it's the index's momentum filter that has lately given Guggenheim an edge over its ETF peers. Over the past year, the Guggenheim ETF beat the typical small-cap growth ETF by 4.6 percentage points. Kiplinger's Investing for Income will help you maximize your cash yield under any economic conditions. Subscribe now!


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D1d u kn0w F@c3b00k h4s a l337 sp3@k l4ngu@g3 0p7i0n? If you didn't before, you do now—though using the site with it turned on is more insufferable than reading my first sentence in this post. For those who didn't participate in the early days of the Internet, l337 sp3@k (or "leet speak") was once a popular way to communicate online among the geek community, though it has largely fallen by the wayside in these modern times of using real words to talk to other people.
But on Facebook, you can still change your default language option to "Leet Speak," as well as "Pirate" and a plethora of other languages. (Load up the main site and scroll to the very bottom—your current language setting is in the bottom right next to links to the privacy policy.) This obscure setting has actually been there since at least 2008 but remained unknown to the general population until fairly recently. And up until Friday, the Leet Speak setting changed the gender on women's profiles to "54ndw1ch m4k3r," or "sandwich maker." The gender on men's profiles remained "Male."
This eyebrow-raising description of women was brought to my attention by the reddit community on Thursday evening (a sort of cousin site to Ars Technica—but one of our favorite cousins!). The cantankerous response to the discovery was warranted—after all, this wasn't a user-created Facebook app or add-on. It's an official language option offered by the multi-billion dollar company that recently filed for IPO to become public. Such a "joke" about how geek men apparently see women is tasteless at best and offensive at worst. But no matter whether your funny bone was tickled, it was surprising to see out of such a big company that declared in October of 2011 that "women are the power users of social." According to a Pew study from 2011, women made up 58 percent of all Facebook users.
In the interest of hearing all sides of the situation—it's only fair—I fired off an e-mail to our contacts at Facebook PR asking for comment on the "54ndw1ch m4k3r" description. Not long after the e-mail was sent, I checked the settings again and "54ndw1ch m4k3r" had quietly been changed to "Female" under the Leet Speak option.
But why did Facebook wait until now to do so? Renowned sex educator and privacy writer Violet Blue wrote about this exact issue on ZDNet in January of 2012, but received nary a nod from Facebook. We can't know whether they were aware of this issue previously, but it certainly seems strange that Facebook would seemingly ignore a publication as well-known as ZDNet.
On Friday evening, Facebook spokesperson Victoria Cassidy responded to my request for comment (hours after the company had already changed the description). "Some users of the translations app had 'translated' that and we have since removed the content," she said. Cassidy did not comment further on why the former description had remained there for nearly four years.
Whatever the case, the description has now been changed. With "hilarious" Facebook profiles such as "Buying a sandwich-maker, so you can dump your girlfriend," and meme images floating around the Internet like these:
it's not hard to see why the reasonable adults who run Facebook would want to make their official company offerings a little more civil here in 2012. N0w b4ck t0 y0ur r3gul4rly sch3dul3d "l337 sp3@k" pr0gr4m.


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Hope you're ready for the weekend, I know I am! I thought I would update this posting since it's been awhile. Here are some updates on Little Pumpkin Doodle's favorite things as she grows.
WHAT SHE'S LEARNING: French and Gymnastics
FAVORITE SONGS:B52's Love Shack, Who let the Dogs, Le Petite Train and Heads UP, by Steve Vai
BOOKS: All things Fancy Nancy, Pirates of the Sea and Dog, by Matthew Van Fleet
SHOWS: Secret Agent Oso and Jungle Junction
FUNNY QUIRKS. She still names all her dresses, and her all time fave is Laura Ashley (she wears it all the time). Her new funny quirk is stopping and doing this dance where she shakes her hands and drops to the ground, for some reason she thinks it's hilarious.
FAVORITE PAST TIME: Ballet and reading her books.
Thank you for your readership:)
Stay tuned for more to come.


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While searching for somewhere to eat with my friend to catch up, I came across Jefferson Street Café. The pictures on yelp look great, but my friends are picky so I decided that I would go there by myself one day. After church one Sunday, I decided to go and try them out. On my ride down, I started to think about how much Jefferson Street had changed due to gentrification. Most of the migrants do not know the history and value of preserving Jefferson Street. So not only will I review the café but give a little history on Jefferson Street.
If you are not from Nashville, Jefferson Street is the Holy Grail for black culture. It's where three of the most famous HBCUs (Historically Black Colleges and University) TSU (Tennessee State University), Meharry Medical College and Fisk University are located. Jefferson Street at one point in time housed so many black owned businesses. Jefferson Street was also known for its booming musical scene way before Nashville was deemed Country Music City. According to Jeffersonstreetsound.com, some of the greatest artist like Jimi Hendrix, Etta James, Otis Redding, Ray Charles, BB King, and James Brown all performed in clubs on Jefferson Street.
Not only was it famous for music, but it's also an important part of the civil rights movement. Jefferson Street was the center of the Nashville Sit Ins in the 1960s. It was the place for planning the sit ins that we're carried out in downtown Nashville.
In the midst of gentrification, a cute little café opened with culture oozing from it. The café pays tribute to the historical North Nashville. Historical Nashville newspaper articles printed as table tops, black art on the walls for sale, and soulful music playing in seating area. The menu is eclectic. The menu ranges from avocado toast, to hash brown waffles, to smoke salmon.
When I entered the restaurant, I was immediately greeted. The waitress was very knowledgeable and suggested some items to try. I decided on the Hash brown and Honey Waffle with bacon and a Chai Tea Latte. You have to order your food first and then seat yourself.
First impression of the hash brown waffle was "this is interesting." It looked like a hash brown put in a waffle maker. The first bite was amazing! It tasted like a hash brown and waffle. It was crispy on the outside and creamy on the inside. I don't know what's exactly in the butter, but they need to sale it. It was like honey sugar butter and made the waffle even better. There was maple syrup but I really did not need it because of the creaminess of the waffle and the flavor of the butter.
My favorite item was the Chai Tea Latte. When I go to a coffee shop, I get one or two things, a Chai Tea Latte with a shot of caramel and toffee nut or a Dirty Chai with a shot of caramel and toffee nut. If it is a new coffee shop I am trying, I always get a regular Chai Tea Latte first. I want to see if I need to add anything and also if can I taste the spices. This Chai Tea Latte was perfect. I did not add anything to it and that's rare. Thinking about it now makes me want to get out of bed and drive 25 minutes to Jefferson Street to get another one.
Overall, I really like this café. I love that they pay homage to the African American culture, but also to the history of Jefferson Street. If you are ever in the Nashville, Tennessee please stop at Jefferson Street Café.


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020 7284 9730
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As more and more websites are created and compete for attention, search engines have had to keep up with this growth while still focusing on delivering the most relevant content for a user. As a result, it is important to have a firm grounding in how search works in order to ensure your site is as search engine friendly as possible.
At a basic level, there are three key processes in delivering search results I am going to cover today; crawling, indexing and ranking.
It is fair to say most organisations put a lot of focus on their website's homepage to draw people in and capture their attention. It is viewed as the doorway to an organisation's online presence and the primary means of communicating who they are and what they do. Yet every page has the potential to be a homepage - at least in the sense of being the doorway to an organisation on the web - and thus requires a change in mindset for many people in terms of how websites are managed.
Simply put, Google Authorship lets you associate a Google+ account with content you have published on your website, and potentially other websites as well.
Once you associate a Google+ account with your content, this association extends to search results where your photo avatar shows up next to results that include your content.
The other week at a party I found myself in discussion with several random people about the simple task of searching in Google; I was incredibly surprised to discover how limited many people's capabilities were in using a search engine. After all, search engines have become part of our daily lives with well over 3 billion searches entered a day in Google alone.


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text:
My dear Wincott, I hear
that a book has lately been published by an American
lady, in which all the modern poets are represented.
The singers have been induced to make their own selections,
and put forward, as Mr. Browning says, their best
foot, anapaest or trochee, or whatever it may be.
My information goes further, and declares that there
are but eighteen poets of England to sixty inspired
This Western collection of modern
minstrelsy shows how very dangerous it is to write
even on the English poetry of the day. Eighteen
is long odds against a single critic, and Major Bellenden,
in "Old Mortality," tells us that three
to one are odds as long as ever any warrior met victoriously,
and that warrior was old Corporal Raddlebanes.
I decline the task; I am not going
to try to estimate either the eighteen of England
or the sixty of the States. It is enough to speak
about three living poets, in addition to those masters
treated of in my last letter. Two of the three
you will have guessed at Mr. Swinburne and
Mr. William Morris. The third, I dare say, you
do not know even by name. I think he is not
one of the English eighteen Mr. Robert Bridges.
His muse has followed the epicurean maxim, and chosen
the shadowy path, fallentis semita vitae, where
the dew lies longest on the grass, and the red rowan
berries droop in autumn above the yellow St. John's
wort. But you will find her all the fresher
for her country ways.
My knowledge of Mr. William Morris's
poetry begins in years so far away that they seem
like reminiscences of another existence. I remember
sitting beneath Cardinal Beaton's ruined castle
at St. Andrews, looking across the bay to the sunset,
while some one repeated "Two Red Roses across
the Moon." And I remember thinking that
the poem was nonsense. With Mr. Morris's
other early verses, "The Defence of Guinevere,"
this song of the moon and the roses was published
in 1858. Probably the little book won no attention;
it is not popular even now. Yet the lyrics remain
in memories which forget all but a general impression
of the vast "Earthly Paradise," that huge
decorative poem, in which slim maidens and green-clad
men, and waters wan, and flowering apple trees, and
rich palaces are all mingled as on some long ancient
tapestry, shaken a little by the wind of death.
They are not living and breathing people, these persons
of the fables; they are but shadows, beautiful and
faint, and their poem is fit reading for sleepy summer
afternoons. But the characters in the lyrics
in "The Defence of Guinevere" are people
of flesh and blood, under their chain armour and their
velvet, and the trappings of their tabards.
There is no book in the world quite
like this of Mr. Morris's old Oxford days when
the spirit of the Middle Ages entered into him, with
all its contradictions of faith and doubt, and its
earnest desire to enjoy this life to the full in war
and love, or to make certain of a future in which
war is not, and all love is pure heavenly. If
one were to choose favourites from "The Defence
of Guinevere," they would be the ballads of
"Shameful Death," and of "The Sailing
of the Sword," and "The Wind," which
has the wind's wail in its voice, and all the
mad regret of "Porphyria's Lover"
in its burden.
The use of "colour-words,"
in all these pieces, is very curious and happy.
The red ruby, the brown falcon, the white maids, "the
scarlet roofs of the good town," in "The
Sailing of the Sword," make the poem a vivid
picture. Then look at the mad, remorseful sea-rover,
the slayer of his lady, in "The Wind":
"For my chair is heavy and
carved, and with sweeping green behind
It is hung, and the dragons thereon
grin out in the gusts of the wind;
On its folds an orange lies with
a deep gash cut in the rind;
If I move my chair it will scream,
and the orange will roll out far,
And the faint yellow juice ooze
out like blood from a wizard's jar,
And the dogs will howl for those
who went last month the war."
"The Blue Closet," which
is said to have been written for some drawings of
Mr. Rossetti, is also a masterpiece in this romantic
manner. Our brief English age of romanticism,
our 1830, was 1856-60, when Mr. Morris, Mr. Burne
Jones, and Mr. Swinburne were undergraduates.
Perhaps it wants a peculiar turn of taste to admire
these strange things, though "The Haystack in
the Floods," with its tragedy, must surely appeal
to all who read poetry.
For the rest, as time goes on, I more
and more feel as if Mr. Morris's long later
poems, "The Earthly Paradise" especially,
were less art than "art manufacture."
This may be an ungrateful and erroneous sentiment.
"The Earthly Paradise," and still more
certainly "Jason," are full of such pleasure
as only poetry can give. As some one said of
a contemporary politician, they are "good, but
copious." Even from narrative poetry Mr.
Morris has long abstained. He, too, illustrates
Mr. Matthew Arnold's parable of "The Progress
of Poetry."
"The Mount is mute, the channel
Euripides has been called "the
meteoric poet," and the same title seems very
appropriate to Mr. Swinburne. Probably few readers
had heard his name I only knew it as that
of the author of a strange mediaeval tale in prose when
he published "Atalanta in Calydon"
in 1865. I remember taking up the quarto in
white cloth, at the Oxford Union, and being instantly
led captive by the beauty and originality of the verse.
There was this novel "meteoric"
character in the poem: the writer seemed to rejoice
in snow and fire, and stars, and storm, "the
blue cold fields and folds of air," in all the
primitive forces which were alive before this earth
was; the naked vast powers that circle the planets
and farthest constellations. This quality, and
his varied and sonorous verse, and his pessimism,
put into the mouth of a Greek chorus, were the things
that struck one most in Mr. Swinburne. He was,
above all, "a mighty-mouthed inventer of
harmonies," and one looked eagerly for his next
poems. They came with disappointment and trouble.
The famous "Poems and Ballads"
have become so well known that people can hardly understand
the noise they made. I don't wonder at
the scandal, even now. I don't see the
fun of several of the pieces, except the mischievous
fun of shocking your audience. However, "The
Leper" and his company are chiefly boyish, in
the least favourable sense of the word. They
do not destroy the imperishable merit of the "Hymn
to Proserpine" and the "Garden of Proserpine"
and the "Triumph of Time" and "Itylus."
Many years have passed since 1866,
and yet one's old opinion, that English poetry
contains no verbal music more original, sonorous, and
sweet than Mr. Swinburne wrote in these pieces when
still very young, remains an opinion unshaken.
Twenty years ago, then, he had enabled the world
to take his measure; he had given proofs of a true
poet; he was learned too in literature as few poets
have been since Milton, and, like Milton, skilled
to make verse in the languages of the ancient world
and in modern tongues. His French songs and
Greek elegiacs are of great excellence; probably no
scholar who was not also a poet could match his Greek
lines on Landor.
What, then, is lacking to make Mr.
Swinburne a poet of a rank even higher than that which
he occupies? Who can tell? There is no
science that can master this chemistry of the brain.
He is too copious. "Bothwell" is
long enough for six plays, and "Tristram of Lyonesse"
is prolix beyond even mediaeval narrative. He
is too pertinacious; children are the joy of the world
and Victor Hugo is a great poet; but Mr. Swinburne
almost makes us excuse Herod and Napoleon III. by
his endless odes to Hugo, and rondels to small
boys and girls. Ne quid nimis, that is the
golden rule which he constantly spurns, being too
luxuriant, too emphatic, and as fond of repeating
himself as Professor Freeman. Such are the defects
of so noble a genius; thus perverse Nature has decided
that it shall be, Nature which makes no ruby without
a flaw.
The name of Mr. Robert Bridges is
probably strange to many lovers of poetry who would
like nothing better than to make acquaintance with
his verse. But his verse is not so easily found.
This poet never writes in magazines; his books have
not appealed to the public by any sort of advertisement,
only two or three of them have come forth in the regular
way. The first was "Poems, by Robert Bridges,
Batchelor of Arts in the University of Oxford. Parva
seges satîs est. London: Pickering,
This volume was presently, I fancy,
withdrawn, and the author has distributed some portions
of it in succeeding pamphlets, or in books printed
at Mr. Daniel's private press in Oxford.
In these, as in all Mr. Bridges's poems, there
is a certain austere and indifferent beauty of diction
and a memory of the old English poets, Milton and the
earlier lyrists. I remember being greatly pleased
with the "Elegy on a Lady whom Grief for the
Death of Her Betrothed Killed."
"Let the priests go before,
arrayed in white,
And let the dark-stoled
minstrels follow slow
Next they that bear her, honoured
on this night,
And then the maidens
in a double row,
Each singing soft
and low,
And each on high a torch upstaying:
Unto her lover lead her forth with
With music and with singing, and
with praying."
This is a stately stanza.
In his first volume Mr. Bridges offered
a few rondeaux and triolets, turning his back
on all these things as soon as they became popular.
In spite of their popularity I have the audacity
to like them still, in their humble twittering way.
Much more in his true vein were the lines, "Clear
and Gentle Stream," and all the other verses
in which, like a true Etonian, he celebrates the beautiful
"There is a hill beside the
silver Thames,
Shady with birch and beech and odorous pine,
And brilliant under foot with thousand gems
Steeply the thickets to his floods decline.
Straight trees in every place
Their thick tops interlace,
And pendent branches trail their foliage fine
Upon his watery face.
A reedy island guards the sacred
And hides it from the meadow, where in peace
The lazy cows wrench many a scented flower,
Robbing the golden market of the bees.
And laden branches float
By banks of myosote;
And scented flag and golden fleur-de-lys
Delay the loitering boat."
I cannot say how often I have read
that poem, and how delightfully it carries the breath
of our River through the London smoke. Nor less
welcome are the two poems on spring, the "Invitation
to the Country," and the "Reply."
In these, besides their verbal beauty and their charming
pictures, is a manly philosophy of Life, which animates
Mr. Bridges's more important pieces his
"Prometheus the Firebringer," and his "Nero,"
a tragedy remarkable for the representation of Nero
himself, the luxurious human tiger. From "Prometheus"
I make a short extract, to show the quality of Mr.
Bridges's blank verse:
"Nor is there any spirit on
earth astir,
Nor 'neath the airy vault,
nor yet beyond
In any dweller in far-reaching space
Nobler or dearer than the spirit
of man:
That spirit which lives in each
and will not die,
That wooeth beauty, and for all
good things
Urgeth a voice, or still in passion
And where he loveth, draweth the
heart with him."
Mr. Bridges's latest book is
his "Eros and Psyche" (Bell & Sons, who
publish the "Prometheus"). It is the old
story very closely followed, and beautifully retold,
with a hundred memories of ancient poets: Homer,
Dante, Theocritus, as well as of Apuleius.
I have named Mr. Bridges here because
his poems are probably all but unknown to readers
well acquainted with many other English writers of
late days. On them, especially on actual contemporaries
or juniors in age, it would be almost impertinent
for me to speak to you; but, even at that risk, I
take the chance of directing you to the poetry of Mr.
Bridges. I owe so much pleasure to its delicate
air, that, if speech be impertinence, silence were


text:
Four investment myths on the rise
The world of investing constantly changes and that means yesterday's wisdom can soon become today's myths. Or in some cases, the story moves along and some investors haven't quite kept up.
Your own biases and assumption can pose a danger to wealth generation (you can test this at incomeiq.schroders.com). So here we run through some assumptions that could be described as myths.
1. Retiring soon? Take less risk.
The long-held wisdom was that as you approach retirement, your pension pot was steadily shifted out of equities and into lower risk investments, such as bonds.
This should help protect you from a stockmarket shocks in the last few years of work.
This made sense when most of us cashed in our pension pots at retirement age and used the money to buy an income for life via an annuity.
But the rules were relaxed last year and far fewer people now follow this route. Many more are choosing to keep their money invested and then draw an income to live on.
In this scenario, you might need the portfolio to support you for 30 years or more. History suggests that over such long periods, equities tend to deliver better returns than bonds, offering potential capital gains as well as income.
You may choose to continue taking extra risk to achieve greater reward, although isn't always the case (see below).
Talk to your financial adviser or pension provider about your post-retirement plans.
2. All commercial property funds are hard to buy and sell
Property funds have hit the headlines this year after some were frozen, preventing investors from selling.
These funds, usually called unit trusts or "Oeics", buy offices, shops and warehouses and are able to pay investors steady income from the rent received.
But when lots of investors want to withdraw money from a fund at the same time, properties must be sold rapidly – which can be impossible – or fund withdrawals must be frozen.
However, investors shouldn't assume all property funds work this way.
Investment trusts also pool investors' money and buy commercial buildings, like Oeics and unit trust, but because of the very different way they are structured, they do not face pressure to sell buildings when investors sell.
There are other risks associated with investment trusts, but liquidity – ease of buying and selling – is not one of them. Ask your IFA.
3. Online investment research: you can never have too much information
If you have ever booked a hotel online then you will probably have researched online reviews.
Read the first two or three reviews and you've convinced yourself, one way or the other. Read the next few and you begin to question yourself. Any more and you're in a state of confusion.
Investing is the same: having too little information and you risk making a bad choice, doing too much and you risk overcomplicating the process.
To paraphrase Warren Buffett: "don't make investing difficult". Decide your goal and the investment strategy and don't get distracted by the noise.
4. Investing abroad is high risk
Some investors won't invest abroad because it is perceived as a higher risk. Certainly there is some currency risk.
If the pound rises against the US dollar, for example, then it will probably make your US-focused funds worth less regardless of the performance of the assets.
It worked the other way after the EU referendum in June when the pound slumped, boosting the value of money held in funds that invest overseas.
But these risks exist anyway. For instance, 70% of FTSE 100 company profits are generated overseas. When the pound falls, their profits rise in sterling terms.
Global investing may not be right for everyone but it offers diversification – spreading your money around different markets - which can lower risk.
Investing anywhere comes with inherent risks. The value of your investments can go up and down. Nothing is guaranteed.
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text:
Finance & Development, March 1979
Show Summary Details
Finance & Development, March 1979
- Bank activity: Latest evaluation of completed Bank projects; sixth education credit to Tanzania; Development Committee reports on LDC access to capital markets; first loan to Barbados; Bank and IDA loans and credits
- Fund activity: Review of 1978; de Larosière on the adjustment process; special drawing rights allocation and changes in interest rate and reconstitution requirements; gold sales exceed $2 billion; new members of the Fund; Fund transactions
- Exchange rate policy:some current issues: An examination of some technical issues arising out of the recent instability of exchange rates
- The SDR as an international unit of account: The continuing fluctuations in exchange rates are producing a growing interest in the special drawing right and other international units of account
- The World Bank and the world's poorest: IV : The fourth and fifth articles in a continuing series that explains how the Bank is responding to the challenge of finding ways to reduce poverty in member countries
- The World Bank and the world's poorest: V : How to alleviate the situation created by madeguate drinking water and sanitation facilities in many developing countries
- Labor market developments in the major industrial countries: An analysis of recent labor market conditions in Canada. France, the Federal Republic of Germany, Italy, Japan, the United Kingdom, and the United States
- A new approach to the economic analysis of projects: A framework designed to help improve the evaluation of the costs and benefits of projects
- Financing education for income distribution: Can education help redistribute income? Yes, under certain conditions. Examples from Colombia and Brazil
- The underfinancing of recurrent development costs: Governments need to provide adequate funds for maintaining development projects after completion. Some suggestions
- Book notices