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Guide to Shop Closet Cabinets in Digah House Company

Guide to Shop Closet Cabinets in Digah House Company

2021-09-09
Digah Company
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Three Simple Things You Can Do to Avoid Getting Sick at Work
Three Simple Things You Can Do to Avoid Getting Sick at Work
As it turns out, the best advice to stay healthy during cold and flu season is really pretty simple. It doesn't involvemega-dosingVitamin C orpopping mysterious anti-influenza supplements.And while avoiding people who are coughing and sneezing isa good idea, the infectious disease pros say that's also not enough.Instead, what it mostly comes down to isyour hands.Start by taking note of what you touch. Some common virusesspreadquickly via surfaces touched by multiple people, as shown in a now classic study of viral contamination by infectious disease specialist Charles Gerba and his team at the Univeristy of Arizona.The researchers contaminated two surfaces, a doorknob and a tabletop, with viral samples in an office building, hotel rooms and a healthcare facility. The virus they used was harmless to people but mimicked the contagiousness of the human norovirus (the dreaded "stomach flu" that causes diarrhea and vomiting). Throughout the day, the researchers took samples from surfaces in the buildings, including light switches, bed rails, tabletops, coffee-pot handles, doorknobs, phones and computer keyboards. Withinfour hours, 40 to 60% of the surfaces in the buildings were contaminated with the virus. In the office, "the first area contaminated was the coffee break room," Gerba reported.Norovirus is heartier outside the body than influenza, which sticks around on surfaces for up to 48 hours but loses much of its potency the longer its exposed. Butsince we can't control exposure to viral particles in the air (aside from maybe wearing a mask every day), managing what we touch is the best strategy available to us.Withthatin mind,here are three simple things office dwellers can do to stay healthier this cold and flu season.Wipe down surfaces.Infectionsin officescould be significantly reduced by wiping down common surfaces with a decent disinfectant. That includes door handles, refrigerator doors, coffee pots, microwave handles, common area phones and anything else you can think of that gets touched by more than one person throughout the day. As Gerba's study showed, this practice is especially important in the break room. Vigilance with disinfectantsreduces the spread of virusesby 80 to 99%, according to his research.Use a paper towel to open the bathroom door.Since bathroom door handles are touched all day long, infectious disease experts recommend using a paper towel to open them when you're exiting and then throw it away. Your office building can help out by placing a wastebasket near the door to encourage the "open and toss," resulting in fewer people transferring germs and less infectious misery. If your office building isn't accommodating, they'll get the message when a pile of paper towels keeps appearing near the door.Wash your hands (the right way).Arguably thesingle best way to avoid getting sickis by washing your hands.But as you've probably heard, mostof us aren't washing our hands the right way. Rather than just spritzing with a little warm water, use the disease-neutralizing five-step process:And if you see someone not washing their hands, make sure to throw them a glare.Afinal item worth mentioning is to stay homeif you're feeling sick, but since we can't control what other people do, that's not a perfect solution (and the idea, of course, is to avoid getting sick in the first place). Washing your hands and staying vigilant about what you touch is about as effective a strategy as we're going to get, and it's really not that hard to do.You can find David DiSalvo onTwitter,Facebook,Google Plus, and at his website,daviddisalvo.org.
Did City Streets Smell of Horse Dung During the Days of Horse-drawn Carriages?
Did City Streets Smell of Horse Dung During the Days of Horse-drawn Carriages?
Did city streets smell of horse dung during the days of horse-drawn carriages?of course they did duh— — — — — —Ever walked the city streets @ 4am? Comments?Comments?— — — — — —Are The Hours Between Four & Six AM The Best Time To Do Burnouts On Local City Streets?Would a .44 Mag be enough to permanently destroy an engine block?— — — — — —How do I get compensated from damages to my car caused by driving on defective city streets, county roads, or state and federal highways?Your best bet is to check with your state's department of transportation. In Rhode Island, motorists that suffer damage to their vehicles due to potholes simply need to file a claim in accordance with the procedures clearly listed on their website— — — — — —Who is at fault for this town hall fight about the privatization of city streets? The lib or con?(video)?Great fight, does Don King represent both these guys? Though the guy in the yellow should have tucked in his elbow a little, that move could cost him in the later rounds— — — — — —HOW TO BUILD CITY STREETS & WALKS - Model Railroader Magazine - Model Railroading, Model Trains, Reviews, Track Plans, and ForumsI am currently building several major asphalt roadways on my layout and have found the following technique to provide excellent results: 1) I first draw the roadway onto the layout surface keeping in mind the way actual roads are laid out and how vehicles would negotiate them so my roads do not appear odd to viewers. You do not want to lay out turns that only a go-kart could negotiate. If in doubt, place a large truck or bus in your problem area and figure out how much room such a vehicle would need to access the area. 2) I next glue 1/4 inch wide strips of .040" styrene along the centerlines of each roadway to create a crown in the final road surface. These strips should meet in a "" at typical roadway intersections. 3) Next, I cut roadway patterns from cardstock to match my roadway dimensions. Several pieces of cardstock can be taped together into a single pattern for complex roadway shapes. 4) Once my cardstock patterns are complete, I trace their outlines onto .040" styrene sheets. I then carefully cut out the styrene road shapes. 5) Prior to gluing the styrene road shapes into position, I use these pieces as patterns to mark and cut my road surface material. I use a product called "Fun Foam" made by a company called "Creatology". This dense 2 mm thick foam product can be found at Michael's in 12" by 18" sheets in various colors (I use black) for under $1 each. It can also be roughed up with sandpaper if a bit more texture is desired. 6) Once I have finished using the styrene roadway base pieces as cutting patterns, I glue them down to the layout surface using latex caulking. I run beads of caulking along each roadway edge and atop the central crown strips then press the styrene sheet pieces into place. It may be necessary to tape down the edges of the styrene sheet pieces until the caulking sets, especially at intersection corners. Once the caulking has cured, I spray the underside of the matching Fun Foam pieces with Elmers Multi Purpose Spray Adhesive then press them into place over the appropriate styrene sheet area. I use Woodland Scenics Foam Putty to fill in joints between pieces of Fun Foam. 7) I usually allow everything to set overnight so that painting the road surface does not affect the adhesives. I next sand down the WS Foam Putty patches smooth with the adjacent Fun Foam surfaces. This product shrinks a little so these joints may need a second application of Foam Putty. 8) Once I am satisfied with the Fun Foam/Foam Putty surface, I paint the roadways a dark to neutral gray depending on how old I want the road surface to look. I use inexpensive acrylic craft paints. These paints tend to firm up the surface of the Fun Foam when dry and also seem to improve the surface texture a little. 9) Using a sharp hobby knife, I next make numerous light surface cuts perpendicular to the roadway edges and centerlines to simulate surface cracks. I try to use as random a pattern and crack shapes as possible. The Fun Foam acts somewhat like a self healing cutting matt in that the cut will shrink a bit. This works well as even deeper than desired cuts eventually return to believable scale size cracks. 10) I next use a black fine tip Sharpie pen to trace over the cracks to simulate tar applied to seal the cracks by road crews. These last two steps are a little time consuming but really add to the realism of the finished roads. 11) I use white and yellow fine tip paint pens to apply the road striping. Be sure to research roadway striping practices for your layout era and locale. I use a spray can of flat white paint and stencils cut from .020" styrene sheet for "Stop" and "RR Crossing" indications painted on the road surface. 12) The final step is to weather the road surfaces. I start by airbrushing a light gray wash along the edges and centerlines to fade the asphalt color and tone down the starkness of the tar sealed cracks. Once I am satisfied with the "aging" of the asphalt, I airbrush a dark gray wash down the center of each lane to simulate grease and oil spray along the normal driving line. Do not forget the right and left turn driving lines at intersections. 13) Add a few vehicles and the roadways are done (except for sidewalks). I am still experimenting with how I will create my sidewalks but I will probably cut them from .040" styrene sheet and place them atop two layers of Fun Foam. When positioned against the edge of one of my roadways described above, the sidewalk surface is about 6 to 8 scale inches above the roadway edge. I will probably add curb faces using strips of .020" styrene cemented to the edge of the styrene sidewalks and sanded flush with the top of the sidewalk. Expansion lines will be added using a hobby knife. One thing I did not describe is how I handle grade crossings. This is where the .040" styrene roadway base really comes in handy. I first run my centerline crown strips fairly close to the railroad track roadbed material but you do not need to get all that close. I then cut the .040" styrene roadway base to fit right up to the edge of the track ties using the RR track roadbed to support the edge of the .040" styrene piece. When I glue down the styrene, I use a few thick beads of caulking between the RR track roadbed and the end of roadway centerline strip to support the styrene in the "transition area" after the caulking cures. Next, I gently press the styrene road base into the caulking several inches away from the crossing and atop only the edge of the styrene where it sits on the RR track roadbed. This allows the styrene base to assume its own smooth grade transition without creating the dreaded "stunt show jump" as the roadway approaches the grade crossing. Having used the styrene road base pieces as patterns for cutting the Fun Foam, the edge of the Fun Foam road surface stops just above the ends of the RR ties leaving room to add your favorite grade crossing materials. I have been very pleased with the look of my roadways as they have realistically smooth elevation changes, nice drainage crowns, good surface detail and just enough variation due to the Fun Foam/Foam Putty surface to not look like they were graded using lasers.
Modern Forms of Slavery
Modern Forms of Slavery
Modern forms of slaveryAs declared in the 1948 United Nations Universal Declaration of Human Rights, although the means and specificities of modern and traditional forms of slavery differ considerably, the violation of human rights and human dignity are central issues in both practices. According to the International Organization for Migration (IOM), millions of people - primarily women and children - are subjected to modern forms of slavery and human trafficking. Human trafficking can be defined as "the recruitment, transportation, transfer, harbouring or receipt of persons, by means of threat or use of force or other forms of coercion, of abduction, of fraud, of deception, of the abuse of power or of a position of vulnerability or of the giving or receiving of payments or benefits to achieve the consent of a person having control over another person, for the purpose of exploitation." (UN Protocol to Prevent, Suppress and Punish Trafficking in Persons, especially Women and Children). UNESCO's "Project to Fight Human Trafficking in Africa" aims to promote effective and culturally appropriate policy-making to combat the trafficking of women and children in Western and Southern Africa. Through policy-oriented research on factors relating to trafficking, the project collects best practice models to fight trafficking at its roots. Various training workshops are organized to present these results to policymakers, NGOs, community leaders and the media. Furthermore, building on UNESCO's regional pillar of "extending international protection to endangered, vulnerable and minority cultures and cultural expressions", the "Trafficking and HIV/AIDS Project" based at the UNESCO Bangkok Office tackles the linked triad of problems-HIV/AIDS, trafficking, and non-traditional drug use-in the Greater Mekong Subregion. For this project, research is conducted and programs are developed to crosscut these issues and to address the needs of at-risk and vulnerable populations. For further information, see: Project to fight human trafficking in Africa UNESCO Bangkok Trafficking and HIV/AIDS Project Standards and Fundamental principles and rights at work (International Labour Organisation) Child Labour (United Nations Children's Fund) Human Rights Committee (United Nations High Commissioner for Human Rights) Human Rights (UNESCO Sector for Social and Human Sciences)Today various international conventions define slavery and human trafficking as a "crime against humanity" punishable by international law. See legal instruments.— — — — — —Other narrative formsElectronic literature is a literary genre consisting of works that originate in digital environments. Films, videos and broadcast soap operas have carved out a niche which often parallels the functionality of prose fiction. Graphic novels and comic books present stories told in a combination of sequential artwork, dialogue and text.— — — — — —Evolution and more refined formsIn modern times, several other instruments have been added to playing various parts in joropo performances, for instance, guitar, flute, clarinet, piano, and up to a complete symphony orchestra playing joropo arrangements— — — — — —Encoding formsISO/IEC 10646 defines several character encoding forms for the Universal Coded Character Set. The simplest, UCS-2,[Note uses a single code value (defined as a number, of which one or more represents a code point in general, but for UCS-2 it is strictly one code value that represents a code point) between 0 and 65,535 for each character, and allows exactly two bytes (one 16-bit word) to represent that value. UCS-2 thereby permits a binary representation of every code point in the BMP that represents a character. UCS-2 cannot represent code points outside the BMP. The first amendment to the original edition of the UCS defined UTF-16, an extension of UCS-2, to represent code points outside the BMP. A range of code points in the S (Special) Zone of the BMP remains unassigned to characters. UCS-2 disallows use of code values for these code points, but UTF-16 allows their use in pairs. Unicode also adopted UTF-16, but in Unicode terminology, the high-half zone elements become "high surrogates" and the low-half zone elements become "low surrogates".[clarification needed] Another encoding, UCS-4, uses four bytes (total 32 bits) to encode a single character of the codespace. Even though the Unicode restrict codespace to an upper limit of 10FFFF. The ISO/IEC 10646 standard has stated that all future assignments of characters will take place in the ranges up to 0x7FFFFFFFhex). UCS-4 allows representation of each value as exactly four bytes (one 32-bit word). UCS-4 thereby permits a binary representation of every code point in the UCS, including those outside the BMP. As in UCS-2, every encoded character has a fixed length in bytes, which makes it simple to manipulate, but of course it requires twice as much storage as UCS-2. Currently, the dominant UCS encoding is UTF-8, which is a variable-width encoding designed for backward compatibility with ASCII, and for avoiding the complications of endianness and byte-order marks in UTF-16 and UTF-32. More than 93% of all Web pages are encoded in UTF-8. The Internet Engineering Task Force (IETF) requires all Internet protocols to identify the encoding used for character data, and the supported character encodings must include UTF-8. The Internet Mail Consortium (IMC) recommends that all e-mail programs be able to display and create mail using UTF-8. It is also increasingly being used as the default character encoding in operating systems, programming languages, APIs, and software applications. See also Comparison of Unicode encodings.
Split Enz and Crowded House
Split Enz and Crowded House
Split Enz and Crowded HouseSplit EnzAt the departure of drummer Mal Green from Split Enz in 1981, their percussionist Noel Crombie took up the role of drummer. After the release of the Enz album Time and Tide in 1982, the band took a break to focus on other projects. According to the radio documentary Enzology, when they reformed in mid-1983, both Finn brothers returned somewhat distracted. Tim Finn had just released the very successful solo album Escapade, while younger brother Neil Finn had a child on the way. The reunion resulted in Conflicting Emotions (November 1983), an album which marked the beginning of the end for the band. Before the tour to support the album it was decided that Crombie would return to percussion (something he says he enjoyed more than drumming), and the band would find a new drummer. Hester was auditioned on the advice of Rob Hirst of Midnight Oil and got the job. In June 1984, founder Tim Finn left Split Enz, and they released See Ya 'Round in November which included "This is Massive" which was written by Hester. When Split Enz disbanded in December, Hester and Neil Finn decided to start a new group. Crowded HouseInitially, the new band formed by Hester and Neil Finn was named "The Mullanes" and then underwent a few name changes. They recruited Nick Seymour to play bass guitar and Craig Hooper on guitar, Hooper left as they secured a recording contract with Capitol Records in the US. However, Capitol disliked the name and the band changed to Crowded House to record their debut eponymous album, Crowded House in 1986. Other records by Crowded House with Hester are: Temple of Low Men (1988), Woodface (1991), Together Alone (1993), and the Best-of collection Recurring Dream (1996). By 1993 Hester was frustrated by the demands of his career and suffered a phobia about leaving to go on tour. On his return to Australia that year he started to see a psychiatrist. He remained with Crowded House until 1994, when the pressure of touring and the birth of his first daughter made him want to stay home, rather than remain on the road. Hester left mid-way through a 1994 tour of America, forcing the band to recruit British drummer Peter Jones for the rest of the tour. Hester performed with Crowded House at the band's farewell concert on the forecourt of the Sydney Opera House in 1996.— — — — — —Banana SplitBanana Split is a 2018 American comedy film directed by Benjamin Kasulke and starring Hannah Marks (who co-wrote the screenplay), Liana Liberato and Dylan Sprouse. It is Kasulke's feature-length directorial debut.— — — — — —Omaha hi-low split-8 or betterIn Omaha hi-low split-8 or better (simply Omaha/8), each player makes a separate five-card high hand and five-card ace-to-five low hand (eight-high or lower to qualify), and the pot is split between the high and low (which may be the same player). To qualify for low, a player must be able to play an 8-7-6-5-4 or lower (this is why it is called "eight or better"). A few casinos play with a 9-low qualifier instead, but this is rare. Each player can play any two of his four hole cards to make his high hand, and any two of his four hole cards to make his low hand. If there is no qualifying low hand, the high hand wins (scoops) the whole pot. This game is usually played in the fixed limit version, although pot limit Omaha/8 is becoming more popular. A few low-stakes online tournaments feature no limit Omaha/8. The brief explanation above belies the complexity of the game, so a number of examples will be useful here to clarify it. The table below shows a five-card board of community cards at the end of play, and then lists for each player the initial private four-card hand dealt to him or her, and the best five-card high hand and low hand each player can play on showdown: In the deal above, Chris wins the high-hand half of the pot with his J-high straight, and Bryan and Eve split the low half (getting a quarter of the pot each) with 7-5-3-2-A. Some specific things to notice about Omaha/8 hands are: In order for anyone to qualify low, there must be at least three cards of differing ranks 8 or below on the board. For example, a board of K-8-J-7-5 makes low possible (the best low hand would be A-2, followed by A-3, 2-3, etc.) A board of K-8-J-8-5, however, cannot make any qualifying low (the best low hand possible would be J-8-5-2-A, which does not qualify). Statistically, around 60% of the time a low hand is possible. Low hands often tie, and high straights occasionally tie as well, as do, even more rarely, full houses. In theory, it is possible to win as little as a 14th of a pot (though this is extraordinarily rare). Winning a quarter of the pot is quite common, and is called "getting quartered." One dangerous aspect of playing for the low pot is the concept of "counterfeiting". To illustrate, if a player has, for example, 2-3 and two other cards in his hand and the flop is A-6-7, that player has flopped the "nut low". However, if either a 2 or a 3 hit the board on the turn or the river, the hand is "counterfeited" and the nut low hand is lost (the player still has a much weaker low hand however, with 3-4, 3-5 and 4-5 making better lows). This is why there is significant extra value in possessing the "protected" nut low. To illustrate this, if the player has 2-3-4 in his hand his low is protected, i.e. if a 2 or 3 hits the board he still has the lowest possible hand. To lose the nut low in this case either a 2 and a 3, a 2 and a 4, or a 3 and a 4 would have to hit the board on the turn and the river (giving the nut low to a player holding 4-5, 3-5 and 2-5, respectively), an unlikely possibility. For similar reasons it is significantly better to possess the protected nut low draw over the low draw. For example, this could be having A-2-3 with a flop of 7-8-9; any low card below 7 on the turn or river gives the player the best low. When four or five low cards appear on the board, it can become very difficult to read the low hands properly. For example, with a board of 2 6 A 5 8, the hand 2 4 5 K is playing a 6-5-4-2-A (either his 2-4 with the board's A-5-6, or his 4-5 with the board's A-2-6--either way makes the same hand). In this situation he is often said to be playing his "live" 4, that is, his 4, plus some other low card that matches the board but still makes a low because the one on the board is not needed. A player with 3 5 10 J is playing a "live" 3, for a low of 6-5-3-2-A, which makes a better low. However, a player with 3 7 Q Q can only play 7-5-3-2-A low; even though he has a "live" 3, he must play two low cards from his hand, and so he must play his 7-3, and cannot make a 6-high low hand. Starting hands with three or four cards of one rank are very bad. In fact, the worst possible hand in the game is 2 2 2 2. Since the only possible combination of two cards from this hand is 2-2, it is impossible to make low. As no deuce remains to appear on the board, it will be impossible to make three deuces or deuces full, and anyone with any matching card to the board will make a higher pair. Likewise, starting with four cards of one suit makes it less likely that you will be able to make a flush. Starting with four different suits yields no chance for a flush, and starting with four disconnected cards reduces straight possibilities. Computer analysis of the best starting hands has proven that the best starting hand for Omaha is A-A-K-K (double suited). One favorite starting hand for Omaha is A-A-J-10 (double suited), because of its wider range for making the nut straight (J-7, Q-8, K-9, and A-10). For the Hi-Lo variation, the most valuable starting holding is A-A-2-3 (double suited). Hands to avoid tend to contain mainly middle-ranked cards, which are of little use for any low splits and which tend to generate lower pairs and sets, weaker flushes and lower straights and can be very expensive. Four of a kind is the worst possible starting hand in Omaha, in contrast to most other poker games, where it is exceptionally strong. Straights and flushes are ignored when judging low hands. Low hand ranks from best to worst: 5-4-3-2-A (the wheel), 6-4-3-2-A, 6-5-3-2-A, 6-5-4-2-A, ..., 8-7-6-5-4. Low hands can thus be read as numbers between 54,321 and 87,654 (with the exception of any number that has a pair, i.e. 54,322). The lowest number that any player can make, while ordered from high card to low, is the best possible low hand in play. For example: 2 3 5 6 7 wins over A 2 3 4 8
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