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A penny for your thought?
A penny for your thought?
If Joe Gaddis has his way, more "fanfare" will soon return to Oak Ridge and focus its attention on the Atomic City's vaunted high school football program.
Gaddis accepted the offer to return and take the reins of the high school football program as head coach on March 18. In 1998, after 15 years at the helm, Joe Gaddis left Oak Ridge after 11 seasons and with a record of 119-24. He had more wins than any coach in Oak Ridge High School history and was known for his unbridled enthusiasm and his ability to create excitement.
The Oak Ridger's Robert Holder quoted Bob Smallridge in early March as saying, "In my interview and talks with him, I see pretty much the same Joe Gaddis that I saw in 1988." Ironically, Smallridge, a retired Oak Ridge Schools superintendent, was also back again — as an interim superintendent — at the time of Gaddis' rehiring.
"(Joe Gaddis) is very enthusiastic, and I think he will do a super job again," said Smallridge. "I don't see any diminution of his intensity."
Holder also quoted Oak Ridge High School's athletic director, Mike Mullins, as saying, "During the search process, it was our goal to find somebody who could embrace and carry on the storied tradition of Oak Ridge football. Gaddis is the embodiment of everything we were looking for in a head coach.
"He has a proven record of state championship success at Oak Ridge as a head coach. His energy, passion and charisma is going to motivate our student athletes, alumni, faculty and community," Mullins predicted.
I met Gaddis when he spoke to two Rotary clubs in Oak Ridge about what he calls "the best high school football job in Tennessee." He cited Oak Ridge's enviable record of winning state championships in the 1950s, '60s, '70s, '80s, and '90s and observed that Oak Ridge was just eight points away from winning a state championship in 2005. He pointed out that the current decade isn't up yet, obviously inferring that there is still time for Oak Ridge to win a state championship this decade.
In each of his talks, Gaddis has stressed his style of enthusiastic coaching, his intense desire to see the Oak Ridge community "fired up" and showing what he knows is still here — a passion for football. He wants to include as many students as possible in the program, and he has already been reaching out to the students and drawing them into what he describes as an "exciting" program "you don't want to miss!"
At age 60 and with 30 years of high school coaching experience under his belt, he has succeeded in many schools and improved the programs in every one. That being said, the chance to return to Oak Ridge, Tenn., seems to truly be a dream come true for coach Gaddis.
Hearkening back to his younger days of coaching the Wildcats, Gaddis fondly tells the tale of the local "Penny Lady," an endearing recollection that focuses on the coach receiving a "lucky penny" from a particularly supportive Oak Ridge resident before each and every game.
In fact, Gaddis already has received a "lucky penny" from the Penny Lady for the upcoming season-opener against the Farragut Admirals, and it's reportedly tucked away safely in an envelope in his desk. I hope he remembers to take it with him, because in my research into the story of the "Penny Lady," I learned of a time when the coach realized — while on the football field and just as a game was about to start — that he had forgot the lucky penny given him for that game.
With much exasperation, Gaddis sent a member of his staff back to his office to get that penny. When it was brought to him, the sweat seemed to slow and he could begin to concentrate on the game at hand. The Penny Lady's husband, Jim Keen, told me this story.
Let me introduce you to Catherine "Cathe" Keen. She IS the "Penny Lady" and she is a jewel. Her mobility is extremely limited now because of multiple sclerosis, but her spirit is undaunted and her unwavering support for Oak Ridge High School football remains high.
Gaddis asked about Cathe as soon as he returned to the Secret City, though he never expected to find her again. But as "luck" would have it, while having dinner at Dean's Restaurant in Jackson Square with Don and Mary Layton, Joe told them how much those pennies had meant to him and the Laytons happened to know just who the Penny Lady was … and at that very moment the Penny Lady's husband was walking out of Dean's.
The Laytons pointed him out.
The coach was awestruck. He had to know if she would give him those pennies again. But he didn't know just how to ask.
Being the outgoing person he is, Gaddis approached the Penny Lady's husband anyway. Of course, Jim knew exactly who the coach was and he was glad to see him.
So Gaddis found out where the Penny Lady lives and, when he visited her home, the first thing the returning coach saw was that the Penny Lady was sitting in her chair, which was lovingly arranged by her husband for her comfort. She sat directly in front of the TV with a laptop computer and Gaddis immediately noticed she was drinking from an Oak Ridge championship cup!
Her cheerful smile greeted Joe, and Cathe Keen welcomed the coach to her home and back to Oak Ridge. Gaddis was delighted he'd found his Penny Lady!
Soon the conversation turned to those "found pennies," and Gaddis asked her if she would consider continuing the tradition of providing him lucky pennies for each game. She lowered her head and tears came to her eyes. "I can't be the Penny Lady anymore, because I can't bring you the pennies," she said.
"I will come to your house each week and get them," Gaddis quickly suggested. "Would that be OK?"
Cathe agreed, knowing she truly wanted to do it again. And so the tradition continues.
As aforementioned, Cathe Keen has already given Gaddis a penny for the Farragut game and even given him a shiny new penny for good luck for the entire 2013 season. He has both pennies in "a special place" in his office and, most assuredly, in his heart.
Now he just has to remember to take the Farragut penny with him the night of the Wildcats' first game.
Part of my agreement with Gaddis to write this column was to go meet Cathe and get more details. He really wanted to see the Penny Lady become a large part of this story.
So I stopped by Cathe's home and was welcomed at the door by her loving husband, Jim, who showed me photographs of Cathe and Gaddis when she was "helping him coach" by offering him pennies as well as, quite obviously from the snapshots, giving the coach her opinion about something.
That photo accompanies this column.
I learned the real story of all those "found pennies" that had to be found face up or they didn't contain luck for coach Gaddis and his 'Cats. Think on that a bit, 143 pennies — one for each game — found face up and given to Joe Gaddis.
Here is how it really began, per Jim and Cathe. …
It was halftime at the 1988 Farragut game when Jim (not Cathe) gave Gaddis that first penny. It was done quietly and without fanfare. Jim just handed it to the coach and said "for luck."
Jim and Cathe talked about that penny and they decided Cathe would take up the practice and would be the one who searched for pennies at work. She was a nurse and it seemed pennies just began to show up frequently — heads up! The "Penny Lady" soon had a collection of them and started going to the school on Thursdays after work and giving a penny to the coach.
She began to feel she was doing something important, I gathered. And she felt she HAD to provide that penny each and every week … and so she did.
It was a labor of love, as she would also call in on Gaddis' radio program and quickly became a vocal supporter of the revered coach and the football program.
Jim and Cathe have two daughters who went through Oak Ridge schools and now have a grandson at Jefferson Middle School and two other younger grandsons.
"Let me tell you how much coach Gaddis impressed Cathe and me when he first started coaching at Oak Ridge," Jim said. "I recall we always came early and waited outside the Upper Gate so we could get a good seat.
"The first game he coached, we were seated and talking with some of our friends and regulars before the game. Coach Gaddis worked his way up into the bleachers — chatting and thanking each fan for coming. In all my years at Oak Ridge High School football games, I had never seen a coach who was that interested in seeing that each and every fan he greeted was made to feel welcome.
"He even came and greeted us in a rainstorm once."
Jim concluded by saying, "I sure hope he can generate renewed interest in Oak Ridge High School football. To us, he was the best; and we were really saddened to see him leave.
"When he left, the Penny Lady retired … even though the next coach wanted her to continue. It just wasn't the same for Cathe and she declined."
But the Penny Lady is back with coach Joe Gaddis now, and the two of them couldn't be happier.


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Cam Jansen: the Basketball Mystery #29
Cam Jansen and her friend Eric are having fun at a local basketball game. They watch the teamÕs retiring coach receive a basketball signed by his former players, including the governor. But after the game, the ball is gone. Was it stolen? In this latest addition to the bestselling chapter book series, Cam uses her photographic memory to solve the sporty mystery!


text: Wilson Rejects Opportunity to End Discrimination Against Hundreds of Thousands in California with Mental Illness Sep 29 1998 Arlinton, VA - The National Alliance for the Mentally Ill (NAMI) today blasted Governor Wilson for vetoing AB1100 which would have turned the tide on discrimination against Californians suffering from mental illness. Caving to pressure from the insurance industry, Wilson vetoed the bill after months of negotiations and repeated compromises by bill authors Helen Thomson (D-Davis) and Don Perata (D-Oakland). "The only thing greater than our anger over Governor Wilson's veto is our immense sadness," said Laurie Flynn, Executive Director of NAMI. "With the stroke of a pen, he has allowed insurance policies to continue blocking access to life-saving treatment for thousands of Californians with mental illnesses. Our loved ones will continue suffering as a result of the Governor's cozy relationship with the well-heeled executives of the insurance industry." Governor Wilson's veto begs the question "why," in light of the overwhelming support for AB1100 by legislators from both sides of the aisle, major newspaper editorial boards, and thousands across the state who wrote the Governor in favor of this bill. The veto has broader implications than simply access to care, noted NAMI. It continues the widely-held misconception that mental illnesses are somehow less real, serious, or life-threatening than other biologically based diseases. "We gave the governor the opportunity to make history by ending insurance discrimination against one of the most vulnerable groups in society, people with serious mental illness. Instead, he has left behind an eight year legacy of denial and ignorance while he continues to stigmatize the issue of mental illness," said Helen Thompson. Assemblyman Don Perata, who's sister has long battled schizophrenia, echoed these sentiments. "God gave us the ability to find solutions to mental illness. It is no longer a witch doctor's craft. It is possible to re-salvage human beings. We have an obligation to do that." The bill would have required HMOs and insurers to provide coverage for biologically based severe mental illnesses. Said Assemblyman Tom Woods (R-Shasta), who was part of the large bipartisan support for AB1100, "Ninety percent of everything we know about the human brain we've learned in the last 20 years and what we have learned is this is treatable—that it's a solvable problem and ignoring it won't fix it." One in five families in California will be struck by severe mental illness. Many governors, including Governor George W. Bush, Jr. of Texas, who signed his state's parity bill into law in 1997, recognize that insurance parity for mental illness is sound and humane public policy. In total, 19 states prohibit health insurance discrimination against people with mental illness: Arizona, Arkansas, Colorado, Connecticut, Delaware, Georgia, Indiana, Maine, Maryland, Minnesota, Missouri, New Hampshire, North Carolina, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, and Vermont.


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"A total convert"
Ted Keylon is still trying to change the world. Just ask him. Go ahead.
The 37-year-old musician/artist/television host/producer/underground zine publisher/poet/dishwasher/paperboy and semicelebrity has never needed much prodding to get a lecture going on his ideas to improve society. For the last dozen years or so, Keylon has worked the scene in Springfield, performing at nightclubs, crashing parties, marching in protests, and debating the issues.
Except for a brief stint in the Army spent traipsing around the Arizona desert near Nogales, Keylon has been in Springfield, trying to make his mark on the local music scene since he was a teen. He's performing in seven different bands, including such notable groups as Laughing Boy, elevator shoe, Black Ops, and his current band, Liquid Sun, all the while schlepping his way through the typical tawdry litany of minimum-wage work despite possessing a bachelor's degree in visual arts from the University of Illinois at Springfield.
"At one point I couldn't get any more dishwasher jobs and had to start leaving the education off of the job applications," Keylon says. "Folks won't hire you for menial labor if they think you are too smart."
A wraith with the energy of five men, Keylon will talk to anyone who will listen — and many who would rather not.
Right now he's talking to a couple thousand people each day, telling them about the importance of human rights over states' rights and the need for all people to be free.
Then he politely encourages his listeners to continue their tour in the next room (but does not add that they should stop by the gift shop on their way home). Even though many of the themes are the same, it is not your typical Ted Keylon spiel — but this is not a typical Ted Keylon tale.
Sure, anyone who responded to the question — will success change Ted Keylon? — with an emphatic "I sure hope so!" has a Ted story to tell. There's one about him preaching the gospel to the graveyard-shift crowds at the Illinois State Fair when he was supposed to be selling them sandwiches. And then there's the time he showed up at the Old State Capitol Art Show, wearing a sandwich board advertising a competing art show to protest capitalism in the capital city. But now Keylon has come up with his most outrageous incarnation yet: state worker/actor — no joke.
That's right, keepers of the indie-cred flame: As of January 2005, Ted Keylon works for The Man — represented by the brand-new Abraham Lincoln Presidential Library and Museum. Employed as an actor and as a lip-syncher, Keylon alternates between the two human acting roles amid the museum's massive and flashy exploration of the life of Abraham Lincoln.
Keylon had not expected to get the job or to love it as much as he does.
"In Springfield, you get to a point where you think of Lincoln as boring," he says, adjusting the frock coat that is part of his "Cabinet Room" costume. "You basically don't even want to hear any more about him unless it's bad — but I was in there applying for the job, and in less than a half-hour I was a total convert."
"The best actors"
The presidential museum has been making plenty of converts. Since its gala opening, complete with crowds from around the world and a guest appearance by President George W. Bush, the museum has been a runaway hit, with more than 100,000 visitors in less than two months. Setting the tone for the times, it includes virtually every presentation method known for entertaining and enlightening the public about the life of your obedient servant, A. Lincoln, short of carnival rides and rubber chickens.
There are actual artifacts from the Lincoln Home and scale sets based on key locations in Lincoln's life. There are mazes and interactive touch screens, swelling music and running visual motifs, flashing lights, gaudy colors, and a cacophony of taped voices. There are explosions, lifelike Lincoln characters, and full-size trees inside the building.
Museum director Richard Norton Smith's concept for the museum was so incredibly multimedia that it inevitably had to incorporate actual actors strutting and fretting upon the stage. Fifty-five actors auditioned to fill the two roles, but just six were selected.
The chosen six represent an interesting assortment of Springfield talent.
In addition to Keylon, the other full-time hire is WQLZ (92.7 FM) DJ/freelance photographer Patrick Russell. The four part-time actors include perennially popular Springfield entertainer Rick Dunham, loved for his numerous stage productions but especially as his alter ego Elvis Himselvis. Also on hand is Randy Erwin, the singing cowboy/trick roper who did the yodeling for the 2004 Disney cartoon flick Home on the Rangeand gives concerts in schools and libraries across the state. Rounding out the troupe are two local theater hounds: Jason Goodreau, youth theater camp director at the Hoogland Center for the Arts and Sacred Heart-Griffin technology director, and Dennis Rendleman, a lawyer. Starting in February, these six men ground their way through six weeks of rehearsals for the two roles, either of which makes for what is essentially a grueling acting day.
The "Ghosts in the Library" performance is one of themuseum's main attractions and one of its most elaborate creations, mixing 21st-century computer-generated technology with old-school sleight-of-hand. A character named Thomas the Librarian lectures the audience on the importance of studying history and maintaining archives, using examples from Lincoln's life, including the mystery of the lost letters of Mary Todd Lincoln, which son Robert collected and burned.During the show, Thomas interacts with smoke effects, ghostly illuminated figures, and other tantalizing phantasmagoria through the magic of scrim curtains and high-tech front-and-back projection, though the show's best special effects rely heavily on good old-fashioned smoke and mirrors. The special effects in the routine are so intricately tied to a precisely timed script that a totally live performance was ruled out early on in rehearsals. The performance lasts about 10 minutes, plays three times an hour, and requires both lip-synching and precise body placement for correct interaction with the various programmed special effects.
"The Cabinet Room" sketch, a two-page monologue, runs about four minutes and is dense with exposition. Based on an actual historical figure, the painter Francis Carpenter who was commissioned in 1862 by the White House, the script gives museum-goers a backdoor look at the process of Lincoln's hammering out the Emancipation Proclamation. After the briefest scheduled five- to 10-second break, the next crowd shuffles in and the whole thing begins again. Whoever is in the role performs the monologue continuously for an hour, then gets a half-hour break before resuming. In the course of an eight-hour day, the actor working "The Cabinet Room" could give his performance nearly 100 times.
According to Keylon, each of the perform-ances has its obstacles. "The Cabinet Room" performances are far more physically demanding but come with the reward of playing to an up-close live audience whose members are often only a guardrail away. The "Ghosts in the Library" routine is much more physically exacting because of the demand that the actors move with precision.
Dunham, for one, agrees with Keylon that the "Ghosts in the Library" routine is by far the harder assignment. "It's incredibly tough. You have to be right in these certain spots, and your body has to be poised just so," he says. "The worst thing is, you can't see the audience, so you don't get their feedback. 'The Cabinet Room' is better because of that live-audience factor."
Even though the sheer number of repeated performances required by "The Cabinet Room" role might seem mind-numbing, for Keylon the repetition is "no different from being a musician and playing the same set every night."
Three of the actors are singers or musicians, but Phil Funkenbusch, shows manager for the museum, says that that wasn't a factor in the hiring decision: "I just looked for the best actors, the people who best responded to the roles and the challenge of this environment."
And it seems that in Springfield today, the "best" includes Ted Keylon.
"Blow something up"
Of course, the only way to truly understand the total museum experience, or the massive remake his latest gig is giving Ted Keylon's image, is to view it firsthand.
Funkenbusch greets me at the ticket gate, then leads me through the museum, diving headlong into the teeming crowds like a salmon fighting its way upstream. He is in his element. Having previously worked his magic at the Lincoln's New Salem State Historical Site, as well as amassing an impressive list of local-theater credits on his résumé, Funkenbusch was hired by Illinois Historic Preservation Agency to develop shows for various sites before getting the position he considers the plum of his career. "It's working full-time live theater and entertaining on such an enormous level," he says. "Anyonein the arts would love this opportunity."
As Funkenbusch hustles me past gawking families waiting their turns to pose with the cluster of Lincoln family figures in the museum's main plaza, I ask about him about Keylon, who had never acted before applying for the museum job. Funkenbusch says Keylon has "great instincts and energy. He is totally professional; in fact, Ted goes above and beyond the duty of duty and never asks for a day off."
Funkenbusch leads me through a side door of the gargantuan White House exhibit, and again we work our way against the current of tourists. About halfway through the maze of interconnected galleries, we come around a corner, and there is Keylon, in character as Francis Carpenter, the host and tour guide of "The Cabinet Room."
The set is a green-wallpapered, high-ceilinged room strewn with maps, including some that the patrons can, and often accidentally do, touch. Lincoln stands at the head of a large conference table, striking a pontifical pose. Outside the prop window of "The Cabinet Room" set is an impressionistic backdrop of the city with the unfinished Washington Monument in the background. The scene is of a cabinet meeting on June 22, 1862, during which the president negotiates the language and ideas behind his magnum opus, the Emancipation Proclamation.
Seven impeccably re-created cabinet members are slumped, apparently despondent or pensive — except for Postmaster Montgomery Blair, who is angrily stabbing at the Commonwealth of Kentucky on a map in the middle of the table with his finger, and that ever-lovable radical-Republican rogue Edwin Stanton, who seems poised to slap that stubborn ol' Honest Abe right out of this whole emancipation mess.
In the frozen moment, Keylon, thin as a department-store mannequin, struts about in a well-tailored 1860s-era suit.Francis Carpenter was apparently an extremely prim character, and Keylon cleans right up, with his trademark goatee in place but his typically wild mane is coifed and tidy. His hands and eyebrows punctuate every sentence; his eyes demand every audience member's rapt attention.When he ushers the crowd out to the next exhibit, you can almost feel the audience lunge for the door in unison. Keylon turns and composes himself, occasionally rinsing his throat, then whirls to face his next audience, a mere three feet away: "Come on in. Beautiful, isn't it? . . . "
All told, I watch Keylon perform "The Cabinet Room" eight times straight. The four-minute monologue involves a full room pass, crowd control, exposition, rhetorical questions, and heavy emoting. In that workmanlike demand of playing the exact same routine, continuously, "The Cabinet Room" routine really isn't much different from a song running about four minutes.
Keylon stays committed to the script and doesn't skip a beat until, starting the sixth run-through, he points to the unfinished Washington Monument in the background. The script calls for him to sigh. After listening to the routine five full times, knowing it now and empathizing with it, I, too, inadvertently sigh heavily on cue, so much in tune with his sigh, that it catches Keylon up and throws him out of character. He pauses for a second, then continues. For the next two run-throughs, Keylon skips the passage of the monologue that triggered our cluster-sigh, and we do not make eye contact again while he is in character.
Between acts, Keylon is hoarse but animated, explaining how he sometimes gets a headache from the sore eyebrow muscles that come from ferociously acting for an hour straight.
Fellow actor Erwin calls Keylon a natural: "He's exactly what an actor needs to be: all over it. He's like a bunch of energy corked up in a bottle, ready to go all the time. He's very much into the material and the whole idea of the place."
To say that Keylon's into the material and the museum may be understatement.
Keylon strenuously supports the theatrical element of some of the museum's major productions, such as the "Lincoln's Eyes" multiscreen theatrical video experience, which features massive smoke displays that shoot across the room and seats that shake and vibrate when bombs explode on screen.
"The effects are geared to kids today," Keylon says. "You have to blow something up every now and then to keep their attention."
It seems to be working. From the larger-than-life log cabin of Abe's childhood to the scaled-down but still labyrinthine replica of the White House, the place may exude a certain "It's a Small World" Disney feel to some critics. Keylon's not among them.
"The museum presents the history in a way that moves people to tears," he says. "It's not a Disneyfication of Lincoln at all. They stop short of going too far."
"These folks were dying"
Regardless of whether Keylon's art has changed as a result of his latest gig, his newfound steady flow of money is making a huge difference in his day-to-day existence. He slips me backstage as he prepares for his lunch break. For a musician used to getting paid $5 a night and all the beer he could drink or an artist bouncing around between dishwashing jobs to afford his next tube of paint, the state-contract wage of $18 an hour feels like a massive infusion of cash.
The money, he says, is "finally repairing some of the damages done by the ravages of poverty." He laughs when he's asked to explain. "Well, for example, I can afford to eat now. People are now coming up to me and asking for money and favors. Also, I got some dental work done at long last, thank God. My glasses used to be held together with tape, and now I've got new ones."
Lounging backstage in the actors' dressing room amid such luxuries as a VCR, video games and a computer, Keylon reveals the biggest bombshell of his new "Ted Keylon, actor" image:
"Yes, it's true — I've bought a car. I'm still working on the plates and insurance, but can you imagine me with a car?" It is indeed hard to imagine as Keylon strips out of costume for lunch and steps back into the cargo shorts, T-shirt, and bike helmet that have come to define his look when he's not onstage.
In case you were wondering, you don't have to scratch very deeply into the new Keylon to find that his passion as a social activist is one thing that hasn't changed. The second he sits down, Keylon launches into his trademark high-speed, high-energy rant on world affairs.
"Ironically, being heremakes me a more powerful activist than I've ever been. This has shown me the importance of action in activism. I mean, these folks were dying — dying— for what they believed in. It has given me a total awareness of apathy's role in our current oppressions."
Meanwhile, Russell and Rendleman come in wearing identical Thomas the Librarian costumes as Keylon takes off. The two are swapping the role at lunch. Like Keylon, Russell has seen his life take a tremendous turn since officially becoming a professional actor. Before getting the museum gig, Russell supported his freelance photography dream through his WQLZ job, eBay auctions, and publicity work for the band Enamel. Then, during the rehearsal phase, he went through a divorce. Though Russell still does the PR work in his now-rare spare time and still works for the radio station, the steady money is changing his life as well: "This is such a really cool job, I'll stay as long as they'll let me, hopefully for a long, long time."
For Rendleman, a 20-year local-theater vet, the money hasn't mattered as much as the chance to work with Funkenbusch, his long-time friend, and getting to perform in a challenging role in the most technologically advanced theater in town. The sentiment is echoed by Jason Goodreau. "I really wanted to be a part of this really technologically cool theatrical project," he says. "There's nothing like it in the Springfield area and only a handful around the world. I had to know what it was all about."
Russell, like Rendleman, loves the sheer magic of the live theater: "You can see the show six times with the six of us who are all greatly different actors, and even though it is the exact same script, it's a totally different experience."
I decide to put that assertion to the test and come back to see how the character of Thomas the Librarian looks in a pair of blue suede shoes and catch the performance once more, this time in hands of Elvis Himselvis.
"Fun to be interested again"
Once again Funkenbusch slips me through a back door into the glass-fronted theater with wide wooden benches that were built to accommodate 250 and frequently do. I ask the two staffers who maintain the theater and usher the patrons in and out if they know the actors, but they don't. I have a second to adjust to the glass and series of curtains before the next Lincoln-hungry horde bursts through the door and floods the theater. The lights go down, the music comes up, and Springfield's own nationally renowned Elvis impersonator, Rick Dunham, steps onstage. He marches his way confidently through the performance without a hitch or even one accidental pelvic thrust.
After a quick lunchtime change, Elvis leaves the building, and Dunham and I hustle over to the Old State Capitol Plaza so that he can scarf down a quick sub between sessions and I can get a peek at what it's like to be Elvis Himselvis. In the short three-block walk, five people make eye contact with him and two women stop to flirt. Dunham handles it all with the ease of an experienced celebrity. I ask him how it feels to be so widely known, and he says he hadn't noticed.
Certainly the veteran thespian of the ALPLM acting troupe, Dunham began acting in 1980 and has appeared in more than 65 productions in addition to performing his Elvis act in more than 30 states. Dunham, like Keylon, is a Springfield native, though he grew up in the Tri-City area of Buffalo, Mechanicsburg, and Dawson and earned a degree in musical theater from Millikin University. He's been performing regularly as Elvis around the country since 1985 and has seven or eight gigs booked each month, every month, for the foreseeable future.
But things weren't always so bright. Dunham's also had his share of unsatisfying jobs, trying to make ends meet while pursuing his acting and musical career. When I ask Himselvis whether the success of this acting gig has changed him, the ever-cordial Dunham is quick to respond. "Well, the money is the biggest thing. I tell you, I've had some ups and downs trying to survive while doing this. I've slept in mycar. There are so many wonderful actors in this town, and there are so few opportunities to earn any money from it," he says. "Even though I'm not full-time and don't get benefits, this is clearly the best job I've ever had. I'm going to hang on to this as long as I can."
Like Keylon, Dunham has taken from the museum experience a new appreciation for our most famous citizen.
"In a way, the experience has revitalized my interest in Lincoln. Here in Springfield, let's face it, you get burned out on Lincoln. It's fun to be interested again."
"Everybody grows up"
So the story is hopeful, but in the end we are still left with the question: Will the role actually changeTed Keylon? Though it may be too early to answer, it certainly isn't too early to ask.
Local artist/activist Bill Crook chuckles at the question. "Will success change him? For the better, we hope," says Crook, a frequent Keylon collaborator. "It is bound to be a maturing experience for him. Everybody grows up." Keylon, Crook adds, has been "a tireless promoter" for activist causes, and Crook doesn't expect that to change.
Crook's wife, local feng shuiconsultant and spiritualist Wendy Allen, takes it even further, calling Keylon "a brilliant guy, an urban shaman who looks around at the urban landscape, reads its symbology, and tries to interpret it for the public, metaphorically. I think he'll be more peaceful and more at peace with himself."
As for Keylon, he's not too concerned about changing:
"I used to worry about selling out in one way or another all the time, but I think I'm growing past that. People worry about selling out on the one hand and turning into a mercenary on the other; then they end up doing nothing. Artists I know and I found ourselves fighting over whether or not making money corrupts art. I have to run with making money so you can afford to do your art."
Keylon's on break, and he's in a hurry. He hopes to grab some lunch and work some more on getting plates for his new car. Out of costume, he moves through the museum's crowds without attracting attention.
You can't help but be struck by the thought that the new Ted Keylon looks and acts a whole lot like the old Ted Keylon, except with a better haircut. He only has an hour; then it's back to the daily grind: the Cabinet Room, the crowds, and being Francis Carpenter, 12 times an hour, 40 hours a week.
And Ted Keylon could not be happier.


text:
August 7, 2007, 12:00 pm
Platte River bridge
It's troubling to think that the I-25 bridge over the Platte River right in front of Invesco Field is in such bad shape and there's not enough money in the state budget to fix it. I hope when it finally collapses, I'm not one of the victims. But if I am, at least I can be comforted, as I make my fatal fall, by the sight of that shiny new stadium that we built for Pat Bowlen at taxpayer expense. It's good to know we have our priorities in order.
Mike Dubrovich, Parker
This letter was not edited.
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text:
Published August 24, 2017
Perhaps it's not a surprise that the School of Architecture and Planning would approach the restoration of Hayes and Crosby Halls, two of the university's most historic buildings and home to the school for nearly 40 years, with the highest of standards, and even a bit of introspection.
The result is a project that at once demonstrates leadership in historic preservation, sustainable building practices and creative space design, and thoughtfully expresses the school's appreciation for where it's been, what it values and where it's headed as a 21st century school of architecture and planning.
Indeed, the $50.5 million project will preserve the exteriors of these iconic structures and make them more efficient and sustainable, with the expectation of LEED Gold certification. Reimagined interior spaces, with walls literally and figuratively torn down, create openings for interactive learning and flexibility in programming, while symbolizing a renewed commitment to engagement across the school, university and community.
"The restoration of Hayes and Crosby is a rare opportunity to make a bold physical statement about our place in time, our connection to the community, our responsibility as citizens of this planet and our commitment to top-notch education and research in architecture and planning," said Dean Robert G. Shibley, who has overseen the project as dean since January 2011 and, prior to that, as campus architect for UB.
The Hayes phase of restoration is in abatement with completion slated for August 2014. The makeover of Crosby Hall, housing studios, labs, critique spaces and additional office space, is currently in the design phase, with a 2016 target for full build-out. Both projects are part of the "Building UB" master plan for the university, developed by Shibley as the physical piece of the UB 2020 strategic plan.
The project will also bring the buildings up to code, install state-of-the-art building and environmental systems, advance accessibility features and, primarily through the reclamation of the buildings' fourth floors, allow the school to consolidate its studio spaces into Hayes and Crosby Halls while giving students more work space.
"Our reimagined and renewed facilities can now accommodate our vision to become still more competitive with the top schools of architecture and planning, to grow our faculty and student base, and to become an even more robust research center," said Shibley, noting the school's current enrollment of 800 students will grow by way of two new degree programs, a Master of Science in Architecture and a PhD in Urban and Regional Planning.
For now, the school's administrative offices have relocated to Diefendorf Hall, and other faculty and staff have decamped to the infamous annexes, where they will be some of the last occupants. Once Hayes and Crosby are restored, these
UB has partnered with New York State on this important undertaking. While the state has provided UB a construction budget to pay for the renovation and construction—a total of $50.5 million—we are turning to generous donors to help us create and complete the learning spaces inside. The school is working to raise an additional $3.5 million to complete the build-out. Give now.
Once Hayes and Crosby are restored, these "temporary" buildings will be removed and the gracious quadrangles and lawns of E.B. Green's 1930 campus plan reopened.
As the Hayes project moves from demolition to build-out, and the design phase of Crosby becomes more tangible, excitement at the school is palpable.
"We have been talking about this for over 30 years – we can now say it's finally happening. And it's going to be great," said Bruce Majkowski, associate dean and liaison to the Hayes/Crosby project (MArch '86, BPS '84).
With its signature bell tower reaching for the sky, Hayes Hall is one of the university's most iconic buildings and the face of the South Campus. Its history is also deeply tied to the community.
A local landmark, it was built in 1874 as an insane asylum in what was then known as the Erie County Almshouse complex. In 1909, the university, then just a medical school in downtown Buffalo, purchased the complex. A major restoration in 1927 converted the building for use as the university's main administrative offices. Since 1977, Hayes has been home to the school, holding its administrative and faculty offices, classrooms, research centers, library, visual resources center, digital laboratories and exhibition galleries.
The Hayes project has been overseen by the school under the direction of the State University Construction Fund and University Facilities. Rochester-based Bergmann Associates has served as design consultant, while SLR Contracting & Service Company, Inc., a minority- and woman-owned firm, is general contractor. The entire Hayes/Crosby project is being financed by New York State's critical maintenance fund.
From day one, the project team has approached the largest restoration of Hayes Hall in 80 years with a deep appreciation for its history.
"From design to implementation, we have approached this project with a reverence for the history of the building, its
past and its architectural details," said William J. McDonnell, associate dean and school liaison for the project, adding
that the team worked closely with the State Office of Parks, Recreation and Historic Preservation every step of the way due to Hayes Hall's landmark status.
For the exterior, which has remained largely intact since the 1927 restoration, the resulting design includes several small but not insignificant improvements – replacing 40 blocked or altered windows, installing five sets of bronze doors in place of aluminum storefront doors, replacing the roof, and thoughtfully integrating ADA "access paths," designed by the school's very own Center for Inclusive Design and Environmental Access, to flank the building's front entrance.
On the inside, extensive alterations over the years have removed most historic features. While this left Hayes with a patchwork of styles, it also presented the school with essentially a blank canvas for space design. Historic features are preserved where possible, but modern elements dominate. The result is a playful balance of 19th and 21st century details in a vibrant, daylit space ideal for gathering, exhibiting and discovering.
The most dynamic of these spaces is the "Gallery," a twostory atrium and entryway to the building's core. As the school's "front door," it serves as an obvious point of entry and sets the tone for spaces and academic programs within.
Maintaining a reverence for the building's origins, the marble and wood-trimmed entry will remain. And while a hole punched into the second floor of the central corridor introduces volume and verticality through a two-story atrium, flooring materials were chosen to outline the boundaries of the original hallway.
The space will be immediately activated by exhibits of student work, seating areas and a computing lab that offers a glimpse of state-of-the-art technologies found throughout the building. Open spaces for gathering can host lectures and events for the school and community.
These design elements are then carried throughout the building, as interior walls and drop ceilings are removed and glass and aluminum partitions – along with the original transoms – allow daylight to pour into the corridors.
"We are opening up Hayes' long and dimly lit hallways to make the space more inviting," says Robert K. McCubbin, principal, Bergmann Associates, adding that exposing the building's "systems" promotes its use as a teaching tool for the school.
"It will be a totally different feeling," added Charlene Finn, interior design principal at Bergmann, referring to the view of Hayes Lawn that will be accessible through glass walls along the hallways of the building's wings. Despite the flexibility and freedom for design and space programming on the interior, original features are preserved where possible.
The building's grand open stairwells, curvilinear interior window moldings and terrazzo flooring are some of the retained elements. In recognition of the original building floorplan, brass inlays demarcate where walls once stood.
Minimalistic accents and finishes keep with the theme of the building as a student gallery. "Our approach is not to compete with the great products being generated by the students, but to provide more of a background or canvas," said Finn.
Open and flexible spaces and "living-learning landscapes" promote commingling, collaboration and open dialogue across the departments and other disciplines, particularly important for the school's new research-intensive graduate degree programs.
"We've created a design approach that is about how we can do things better together than we can by ourselves," said Shibley.
On the fourth floor, the reclaimed attics are among the building's most inviting spaces, featuring exposed wood trusses and skylights for natural light. The design also supports display and critiques within these spaces, with a large auditorium-style classroom for lectures and events
The Hayes restoration also breaks new ground for the university in green building design and adaptive reuse, and is on track for Leadership in Energy and Environmental Design (LEED) Gold certification.
Sustainable design solutions include energy-efficient windows and mechanical systems, natural ventilation, extensive use of daylighting, and the selection of durable materials and finishes, including reclaimed wood and products made within a 500-mile radius. SLR Contracting has recycled the bulk of debris, from radiators and glass to wood and metals.
According to Shibley, achieving LEED Gold is an important statement about the school's commitment to living creatively and responsibly on this planet, while the process has served as a powerful teaching tool for students and faculty alike.
"The pedagogical use of these buildings as examples of sustainable and preservation practices, or ecological practices, is really the theme," he said, adding that the school is looking to add specializations in these disciplines to both the MSArch and Planning PhD. Meanwhile, the school's continuing education program, coming in April, will use the Hayes and Crosby restorations to explore these issues with professional architects and planners.
Said Ernest Sternberg, professor and chair of the Department of Urban and Regional Planning: "This project preserves and improves a wonderful building for future generations of students. Yes, it will be great to teach and study in so fine a building. More than that, it will be an honor to work in a place that has played so large a role in Buffalo's and UB's history."


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The men and women of the California Department of Forestry and Fire Protection (CAL FIRE) are dedicated to the fire protection and stewardship of over 31 million acres of California's privately-owned wildlands. In addition, the Department provides varied emergency services in 36 of the State's 58 counties via contracts with local governments.
While Californians are learning more and more about the good as well as the bad of fire, the prevention of large, damaging fires remains a priority for CAL FIRE. From Captain Cal and Smokey Bear, to the thousands of CAL FIRE Volunteers in Prevention (VIPs), to new alliances with communities, private industry, and government agencies, aggressive action in fire prevention and fire safety is occurring throughout the State.
Beyond its wildland fire fighting role, CAL FIRE is an "all-risk" department. It may very well be a CAL FIRE engine and crew that is dispatched to the scene of an auto accident, or to a home where a child has become the victim of a drowning incident. The Department is always ready to respond - medical aids; hazardous material spills; swiftwater rescues; search and rescue missions; civil disturbances; train wrecks; floods, earthquakes and more.
Because of the Department's size and major incident management experience, it is often asked to assist or take the lead in disasters, including the Northern and Central California floods of 1997, 1998, and 2006; the 1991 Cantara train derailment and toxic spill; 1994 Northridge earthquake; 1989 Loma Prieta earthquake; the 1991 Tunnel Fire in the Oakland/Berkeley Hills; and the 2003 Southern California Fire Siege.
As part of the CAL FIRE team since 1995, the Office of the State Fire Marshal (OSFM) supports the CAL FIRE mission to protect life and property through fire prevention engineering programs, law and code enforcement and education. The OSFM provides for fire prevention by enforcing fire-related laws in state-owned or operated buildings, investigating arson fires in California, licensing those who inspect and service fire protection systems, approving fireworks as safe and sane for use in California, regulating the use of chemical flame retardants, evaluating building materials against fire safety standards, regulating hazardous liquid pipelines, and tracking incident statistics for local and state government emergency response agencies.
The OSFM, State Fire Training, and CAL FIRE Academy programs provide training education and certification programs for the California Fire Service. Through practical training exercises and classroom courses, every California firefighter is exposed to training standards that have been approved by CAL FIRE and OSFM, each among the best institutions in the nation for fire training education.
CAL FIRE's mission emphasizes the management and protection of California's natural resources; a goal that is accomplished through ongoing assessment and study of the State's natural resources and an extensive CAL FIRE Resource Management Program. CAL FIRE oversees enforcement of California's forest practice regulations, which guide timber harvesting on private lands. Reviews and inspections ensure protection of watershed and wildlife, as well as renewal of timber resources. Department foresters and fire personnel work closely to encourage and implement fuels management projects to reduce the threat of uncontrolled wildfires. CAL FIRE Foresters promote conservation and the importance of our trees and forests to Californians of all ages.
CAL FIRE manages eight Demonstration State Forests that provide for commercial timber production, public recreation, and research and demonstration of good forest management practices. Additional forestry programs include urban forestry, archaeology, pest management, etc.


text:
Survival Bunkers With a Touch of Luxury
Ron Hubbard, who runs Atlas Survival Shelters near Los Angeles, ships most of his luxury bunkers out of state. He builds ones that are half the length of a basketball court and have a master bedroom, dining nook and a couch to watch a 47-inch flat screen TV.
This transcript has been automatically generated and may not be 100% accurate.
I ... restarted a factory no underground bomb doctors and two thousand eleven ... but I've been a proper long before that ... this is galvanize corrugated fight ... basically we're we're inside a ten foot diameter fifty one along ... with rivals softer ... than it has all the comforts of home it's that you're ... forty feet underground ... Vical she got a dinner table debts big screen TV fridge microwave ... begun to read or flushing toilet ... aam vanity bath tub shower ... well the filters are like the on going off to see the self sustained they have their own generators they either have solar power they have generators ... and the doctor here as a buffer for hate ... it got storage underneath the bed for all the Pursell cab s this is what's nice to ... you have all your story for all your data stored underneath the floor ... when twenty underground for ninety days ... I belong to sites that are grown with love and ... pay one thing you need is normalcy needed PL would get away from the other people in the doctor say you want to help the doctor ... sex and often room so I have about from the bar for an eleven room is ... bad for ... itself ... California is the one state ... that will not issue a building permit you to wait for a ... underground survival doctor ... it's been very difficult so pretty much all the


text:
McConkey, who described himself as a "Christian, straight, married" father of nine and grandfather of seven when he filed the lawsuit, is not directly affected by the ban on gay marriages or the ban on civil unions. But [his lawyer Lester] Pines argued that the proposed amendment violated the Wisconsin Constitution because voters had to endorse either both concepts in the question or neither, and therefore were deprived of their rights to oppose one or the other.
ADDED: Simon of Stubborn Facts looks at the complaint and makes a strong argument that the McConkey is wrong on the merits of the case.


text:
Still undecided about a style? Don't worry, you can make one up or mix & match styles from other breeds with similar coat to create a style. For example, A Yorkie can wear a Cocker style body & leg, a Westie style head, & a Poodle style foot... the choice is yours!
Basic Bath Price: $50 - $60
A NaJu Bath Includes:
Shampoo and Conditioning
Brushing & Combing
10 - 15 min. Basic Shed Out
Ear Cleaning
Nail Trimming
Glands Expressed
Finishing Spray
Bow(s) or Bandana
If applicable - ear canal hair removal, & eye area, feet, belly & privates trimmed in.
** Full Groom Price: $59 - $76
A NaJu Full Groom Includes:
All of the basic bath items plus clipper & scissor work to create the style of your choice. Though your pet's breed standard doesn't normally call for clipper or scissor work to create a style, the NaJu groomers can do anything custom ranging from light neaten up sculpt to a custom cut down groom... The choice is yours!
** Price varies from a light sculpt on smaller pets w/ less coat to a large pet shave w/ more coat
Optional Specialty Products & Services:
Luxury & Specialty Shampoo
Luxury & Specialty Conditioner
Tooth Brushing
Nail Filing
Nail Polish
Soft Nails Application
Deep Undercoat Shed Out
Anti-Shed Spray
Coat sculpting
Hand Stripping
Topical & pill form flea treatment.
Prices listed are estimates only & may vary for each pet.
De-mat, flea products, & other specialty products & services not included in prices listed.
De-mat, flea products, & other specialty products & services not included in prices listed.


text:
Setting up PureFTPd on SUSE Linux 9.1 Professional
Wriiten by : Gore
SUSE Linux makes it fairly easy to have a stable and fast FTP server. This should work on just about any version of SUSE, as I've had it on 9.1 and 8.2 Professional, and the only reason I'm saying 9.1 is because that is what I'm currently using as my FTP server for my LAN.
I've been using Linux for a year and a half now, and I've learned a lot. I've never read a manual for setting up a server of any kind on SUSE Linux, but it seems fairly easy too me as I've done it now quite a few times, and the reason I didn't need a manual, was because I just read the configuration file, and went from there.
As I type this, I'm transferring 7 GB of data from this box, over too my newly installed XP Home SP2 box so I can burn the information to CD fast.
FTP servers:
FTP servers can come in very handy. My LAN has 5 machines, and I don't always have money to buy CD - Rs to do back ups, and on one of my machines, my laptop, I don't have a CD-R drive on it, so I have to rely on FTP to do back ups. Which is fine, because my LAN is pretty fast, and I have a lot of disk space around.
One thing I don't like and won't do, is an anonymous FTP server. I want the person using it to have to log in. I don't want anyone to be able to use it without a user name and password from my Linux box. So to use my FTP server, you have to log in with an account that I give, and it must be a valid account on my machine, and you can only upload and download to your home directory.
This adds a bit more security to the process, but this isn't a security tutorial, it's a tutorial to get you started.
So how do you set up FTP? Well, first ready my tutorial on installing SUSE Linux, either 8.1, 8.2 or 9.1 Professional, and if you want Windows too stay on the disk, read my tutorial on Dual booting SUSE and XP.
After you have everything in that tutorial done, read the Basics of securing SUSE Linux tutorial to make sure the box is locked down at least with a basic security setting that I show you how too set up there.
Next, make sure you installed Pure FTPd from the SUSE installation media, which you can do by opening up YAST2, and clicking on "Install/Remove Software". If you didn't install it, just simply check the box next too it, and click on Accept, and make sure you have either the CDs handy, or the DVD.
After it's installed, or if you already had it installed, which saves you time, open a Terminal, like Eterm, and if you aren't Root, type su and give the root password, and then type cd /etc and you will be put in the etc directory to configure the file for PureFTPd.
Now that you're in Etc, type ls and hit enter to get a list of the file names. If you did this all correctly, you'll see smoething called pure-ftpd.conf and if you don't, cd into the pure-ftpd directory and see if it is there. If you find it there but not in etc, then simply copy it with:
cp pure-ftpd.conf /etc
And hit enter.
Now go back into etc and type:
vim pure-ftpd.conf
Hit Enter and you'll be able to edit the file. Now what you want too edit too make an FTP server like mine, is this:
# #
# Configuration file for pure-ftpd wrappers #
# #
# If you want to run Pure-FTPd with this configuration
# instead of command-line options, please run the
# following command :
# /usr/sbin/pure-config.pl /usr/etc/pure-ftpd.conf
# Please don't forget to have a look at documentation at
# http://www.pureftpd.org/documentation.html for a complete list of
# options.
# Cage in every user in his home directory
ChrootEveryone yes
# If the previous option is set to "no", members of the following group
# won't be caged. Others will be. If you don't want chroot()ing anyone,
# just comment out ChrootEveryone and TrustedGID.
# TrustedGID 100
# Turn on compatibility hacks for broken clients
BrokenClientsCompatibility no
# Maximum number of simultaneous users
MaxClientsNumber 10
# Fork in background
Daemonize yes
# Maximum number of sim clients with the same IP address
MaxClientsPerIP 3
# If you want to log all client commands, set this to "yes".
# This directive can be duplicated to also log server responses.
VerboseLog no
# Allow dot-files
AllowDotFiles yes
# List dot-files even when the client doesn't send "-a".
DisplayDotFiles yes
# Don't allow authenticated users - have a public anonymous FTP only.
AnonymousOnly no
# Disallow anonymous connections. Only allow authenticated users.
NoAnonymous yes
# Syslog facility (auth, authpriv, daemon, ftp, security, user, local*)
# The default facility is "ftp". "none" disables logging.
SyslogFacility ftp
# Display fortune cookies
# FortunesFile /usr/share/fortune/zippy
# Don't resolve host names in log files. Logs are less verbose, but
# it uses less bandwidth. Set this to "yes" on very busy servers or
# if you don't have a working DNS.
DontResolve yes
# Maximum idle time in minutes (default = 15 minutes)
MaxIdleTime 15
# LDAP configuration file (see README.LDAP)
# LDAPConfigFile /etc/pure-ftpd/pureftpd-ldap.conf
# MySQL configuration file (see README.MySQL)
# MySQLConfigFile /etc/pure-ftpd/pureftpd-mysql.conf
# Postgres configuration file (see README.PGSQL)
# PGSQLConfigFile /etc/pure-ftpd/pureftpd-pgsql.conf
# PureDB user database (see README.Virtual-Users)
# PureDB /etc/pure-ftpd/pureftpd.pdb
# Path to pure-authd socket (see README.Authentication-Modules)
# ExtAuth /var/run/ftpd.sock
# If you want to enable PAM authentication, uncomment the following line
PAMAuthentication yes
# If you want simple Unix (/etc/passwd) authentication, uncomment this
# UnixAuthentication yes
# Please note that LDAPConfigFile, MySQLConfigFile, PAMAuthentication and
# UnixAuthentication can be used only once, but they can be combined
# together. For instance, if you use MySQLConfigFile, then UnixAuthentication,
# the SQL server will be asked. If the SQL authentication fails because the
# user wasn't found, another try # will be done with /etc/passwd and
# /etc/shadow. If the SQL authentication fails because the password was wrong,
# the authentication chain stops here. Authentication methods are chained in
# the order they are given.
# 'ls' recursion limits. The first argument is the maximum number of
# files to be displayed. The second one is the max subdirectories depth
LimitRecursion 2000 8
# Are anonymous users allowed to create new directories ?
AnonymousCanCreateDirs no
# If the system is more loaded than the following value,
# anonymous users aren't allowed to download.
MaxLoad 4
# Port range for passive connections replies. - for firewalling.
# PassivePortRange 30000 50000
# Force an IP address in PASV/EPSV/SPSV replies. - for NAT.
# Symbolic host names are also accepted for gateways with dynamic IP
# addresses.
# ForcePassiveIP 192.168.0.1
# Upload/download ratio for anonymous users.
# AnonymousRatio 1 10
# Upload/download ratio for all users.
# This directive superscedes the previous one.
# UserRatio 1 10
# Disallow downloading of files owned by "ftp", ie.
# files that were uploaded but not validated by a local admin.
AntiWarez yes
# IP address/port to listen to (default=all IP and port 21).
# Bind 127.0.0.1,21
# Maximum bandwidth for anonymous users in KB/s
# AnonymousBandwidth 8
# Maximum bandwidth for *all* users (including anonymous) in KB/s
# Use AnonymousBandwidth *or* UserBandwidth, both makes no sense.
# UserBandwidth 8
# File creation mask. <umask for files>:<umask for dirs> .
# 177:077 if you feel paranoid.
Umask 177:077
# Minimum UID for an authenticated user to log in.
MinUID 100
# Allow FXP transfers for authenticated users only.
AllowUserFXP yes
# Allow anonymous FXP for anonymous and non-anonymous users.
AllowAnonymousFXP no
# Users can't delete/write files beginning with a dot ('.')
# even if they own them. If TrustedGID is enabled, this group
# will have access to dot-files, though.
ProhibitDotFilesWrite yes
# Prohibit *reading* of files beginning with a dot (.history, .ssh...)
ProhibitDotFilesRead no
# Never overwrite files. When a file whoose name already exist is uploaded,
# it get automatically renamed to file.1, file.2, file.3, ...
AutoRename yes
# Disallow anonymous users to upload new files (no = upload is allowed)
AnonymousCantUpload yes
# Only connections to this specific IP address are allowed to be
# non-anonymous. You can use this directive to open several public IPs for
# anonymous FTP, and keep a private firewalled IP for remote administration.
# You can also only allow a non-routable local IP (like 10.x.x.x) to
# authenticate, and keep a public anon-only FTP server on another IP.
#TrustedIP 10.1.1.1
# If you want to add the PID to every logged line, uncomment the following
# line.
#LogPID yes
# Create an additional log file with transfers logged in a Apache-like format :
# fw.c9x.org - jedi [13/Dec/1975:19:36:39] "GET /ftp/linux.tar.bz2" 200 21809338
# This log file can then be processed by www traffic analyzers.
# AltLog clf:/var/log/pureftpd.log
# Create an additional log file with transfers logged in a format optimized
# for statistic reports.
# AltLog stats:/var/log/pureftpd.log
# Create an additional log file with transfers logged in the standard W3C
# format (compatible with most commercial log analyzers)
# AltLog w3c:/var/log/pureftpd.log
# Disallow the CHMOD command. Users can't change perms of their files.
#NoChmod yes
# Allow users to resume and upload files, but *NOT* to delete them.
#KeepAllFiles yes
# Automatically create home directories if they are missing
#CreateHomeDir yes
# Enable virtual quotas. The first number is the max number of files.
# The second number is the max size of megabytes.
# So 1000:10 limits every user to 1000 files and 10 Mb.
#Quota 1000:10
# If your pure-ftpd has been compiled with standalone support, you can change
# the location of the pid file. The default is /var/run/pure-ftpd.pid
#PIDFile /var/run/pure-ftpd.pid
# If your pure-ftpd has been compiled with pure-uploadscript support,
# this will make pure-ftpd write info about new uploads to
# /var/run/pure-ftpd.upload.pipe so pure-uploadscript can read it and
# spawn a script to handle the upload.
#CallUploadScript yes
# This option is useful with servers where anonymous upload is
# allowed. As /var/ftp is in /var, it save some space and protect
# the log files. When the partition is more that X percent full,
# new uploads are disallowed.
MaxDiskUsage 99
# Set to 'yes' if you don't want your users to rename files.
NoRename yes
# Be 'customer proof' : workaround against common customer mistakes like
# 'chmod 0 public_html', that are valid, but that could cause ignorant
# customers to lock their files, and then keep your technical support busy
# with silly issues. If you're sure all your users have some basic Unix
# knowledge, this feature is useless. If you're a hosting service, enable it.
CustomerProof yes
# Per-user concurrency limits. It will only work if the FTP server has
# been compiled with --with-peruserlimits (and this is the case on
# most binary distributions) .
# The format is : <max sessions per user>:<max anonymous sessions>
# For instance, 3:20 means that the same authenticated user can have 3 active
# sessions max. And there are 20 anonymous sessions max.
# PerUserLimits 3:20
# When a file is uploaded and there is already a previous version of the file
# with the same name, the old file will neither get removed nor truncated.
# Upload will take place in a temporary file and once the upload is complete,
# the switch to the new version will be atomic. For instance, when a large PHP
# script is being uploaded, the web server will still serve the old version and
# immediatly switch to the new one as soon as the full file will have been
# transfered. This option is incompatible with virtual quotas.
# NoTruncate yes
# This option can accept three values :
# 0 : disable SSL/TLS encryption layer (default).
# 1 : accept both traditional and encrypted sessions.
# 2 : refuse connections that don't use SSL/TLS security mechanisms,
# including anonymous sessions.
# Do _not_ uncomment this blindly. Be sure that :
# 1) Your server has been compiled with SSL/TLS support (--with-tls),
# 2) A valid certificate is in place,
# 3) Only compatible clients will log in.
# Listen only to IPv4 addresses in standalone mode (ie. disable IPv6)
# By default, both IPv4 and IPv6 are enabled.
# IPV4Only yes
# Listen only to IPv6 addresses in standalone mode (ie. disable IPv4)
# By default, both IPv4 and IPv6 are enabled.
# IPV6Only yes
Now, if you want, you can copy that and make it your configuration file, as it is mine. Doing this as your configuration file will make it so everyone has to log in and can ONLY upload and download to their home directories. This is perfect for a LAN setting where you want to make back ups, or if you only want people you know to be able to use it, just make sure you have STRONG passwords. VERY strong passwords.
Try and remember that this will open a port on your machine, so it does make it more attacker friendly in a way, but if you keep your machine updated, and have good passwords, you shouldn't have to worry much. If you want you could change the dot files to "No" if you don't want to look at things like that over FTP.
Now, when you get done, save this file. If you're using Vim hit Esc and then :wq Enter. After you press enter it's saved, and ready to go. If you used a wussy editor, well, save it. After you're done, you're not ready yet though. Read the top in the comments where it says to type that out to make this the configuration file for the FTP server.
/usr/sbin/pure-config.pl /usr/etc/pure-ftpd.conf
Type it all out, and press Enter. Of course, on Linux, you should change the last one Which confused me for a day.
/usr/sbin/pure-config.pl /etc/pure-ftpd.conf
Try this one, and it will work. Now, if you want to have the box run FTP everytime it starts up, or you just don't want to keep typing that, simply go into YAST2 and edit the run level editors "Options" and tell it to start the FTP service.
SUSE FireWall2 needs too be told to allow FTP as well. So just open the firewall settings and allow port 21. This will work fine. I believe I covered that all in my last tutorial. The one I'm working on besides this one will teach you to edit system files with YAST2
If you want, you can now try out your FTP server. From Windows just open the command line and type ftp and your machines IP address and it will ask for a username and password.
And if you're on a Linux machine, same thing =)


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Since 1997, an interactive forum for the discussion of musical instrument design, construction, and repair
Mike Conner wrote:Yep, carving the spruce is great meditation. I really like the sound of the plane "ringing" from the plate.
OTOH, carving walnut or maple back plates is anger management therapy.
Dan Smith wrote:Looks great Greg!
How thick is your hunk of Spruce?
It looks like a pretty tall arch.
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Privacy Policy
The huntingtoncentertoledo.com, is a World Wide Web site subject to the following privacy policy ("Policy"):
The Website are owned and operated by Huntington Center and subject to the following Policy. Huntington Center is referred to herein as "we", "us", and "our". The terms "you" and "your" when used in this Policy means any user of the Website.
Our Website may allow you to order products, enter contests, vote in polls or otherwise express an opinion, subscribe to one of our services such as a newsletter, or participate in an online forums or community. We use the information that we collect about you to create a more personalized online experience. This is just a brief overview, so please read on for more details. This Policy may change from time to time, so please check back periodically.
This Policy was last updated on March 29, 2011.
Except as limited below, we may use or disclose your information for business reasons in whatever manner as we see fit.
To ensure the highest quality experience, we may use third-parties to operate certain portions of our Website and other services. All information collected from you may be shared with such third-parties.
Except as otherwise provided in this Policy, this document only addresses the use and disclosure of information we collect from you online. For some services, we may collect and/or transfer your information to a third-party. We also may provide links on our Websites to unaffiliated third-party websites that may collect and use your personal information according to their privacy policies and terms of use. In those cases, the third-parties will govern how your information is collected and/or used.
In order to better provide you with content, and access to products, and services, we collect two types of information: personally identifiable information including but not limited to your name and email address (together "Personally Identifiable Information") and non-personally identifiable information. Our primary goal in collecting information from you is to provide an enjoyable and customized experience while using our Website.
We may use Personally Identifiable Information you provide in a limited number of ways. We may use your Personally Identifiable Information to (i) provide you with information about us, (ii) enhance or update the Websites; (iii) review your account to determine whether other products or services we provide may be of interest to you; (iv) compile demographic statistics about our users; (v) make a record of your visit and log your IP address, the date and time of your visit to the Websites, the pages accessed and any documents downloaded, and the type of browser used; (vi) provide you with information about third-party products or services; and/or (vii) use in connection with business-related matters. We may also on occasion combine information about you that we have with information we obtain from other parties to enhance our ability to market to you those products or services that may be of interest to you.
Though we will make every effort to preserve user privacy, pursuant to the terms of this Policy, we also may need to disclose Personally Identifiable Information when required by law or if we have a good-faith belief that the action is necessary to comply with a pending judicial proceeding, a court order or legal process served on us or to protect our rights or the rights of others, to fight fraud, identity theft, to ensure the integrity and operation of our business and systems, or to protect the rights, property or safety of the Websites, our employees, members or others.
We may use information collected for promotional purposes, and to use such information to enhance the operation of our Website and administer our systems.
Demographic data also may be collected at our Website through the use of third-party advertising servers, content servers, or website analysis agents who provide us with the zip code and area code associated with a visitor's server, along with pages viewed on our Websites. We may review the actions of the visitors of our Website on an aggregate basis to determine customers' preferences. We also may conduct research on our visitors' demographics, interests, and pages viewed based on the information collected in connection with use of our Websites. We may use this data to tailor the visitor's experience at our Website, to improve our marketing and promotional efforts, to statistically analyze Website usage, to improve our product offerings, service offerings, and to customize the content, layout, and/or services provided on our Websites. We may receive reports from third-party ad servers, content servers, or web site analysis agents that tell us how many ads were presented and clicked upon or what content was served or viewed.
We may also share your non-personally identifiable information, and/or Personally Identifiable Information, with third parties who provide services to us, our customers and/or visitors of our Website. Those third parties include, but are not limited to authorized contractors, temporary employees and consultants and other companies working with us. These other companies may be supplied with or have access to your Personally Identifiable Information for the sole purpose of providing these services to us or on our behalf.
We may ask some of our customers to voluntarily complete surveys, which may be collected by an independent third-party. If you do not wish to participate in a survey, simply decline to participate when asked.
On our Website, we may offer newsletters, promotional e-mails and personalized on-line advertisements as a service to our customers. We may send you newsletters and e-mails periodically listing current specials and deals. You may "opt-out," or unsubscribe from our newsletters, emails or personalized on-line advertisements by following any unsubscribe instructions in any e-mail, newsletter or personalized on-line advertisement you receive from us, or by sending an e-mail to email@example.com. After doing so and following a deletion period that may take up to 6 weeks, if you have opted out of receiving all newsletters, all promotional emails or all personalized on-line ads, you will not receive future promotional emails, newsletters or personalized on-line advertisements (as applicable), unless you open a new account, enter a contest, or otherwise subsequently sign up to receive newsletters, emails or personalized on-line advertisements. Please Note: If you receive e-mails separately from third-party merchants, then all information that you choose to disclose to them will be subject to their privacy policy, terms of use, and opt-out procedures.
We may display advertisements on our Website. By knowing a little about you we will be able to deliver more relevant advertisements and content to you in the form of targeted banners and promotions. We may also use third-party advertising servers to display ads linked to certain search terms that you have entered, or to certain pages that you are viewing. We may share aggregated data with advertisers. We may also use advertising partners to assist us in delivering personalized on-line ads to you through the use of cookies while you are on the Internet.
We also may track customers' traffic patterns throughout their online session, including which pages, information and advertisements a customer views while using our Website and what items they view and/or services or products that they purchase. We may use your IP address to diagnose problems with our servers, software, to administer our Website and to gather demographic information. We may share aggregated statistics about pages viewed on our Website, sales and other shopping information with third parties.
We may use cookies and may allow others to use cookies in the operation of our Websites.
We may use and allow others to use action tags or web beacons in the operation of our Websites.
We may run promotions for merchants where you may visit a third-party merchant website. In some of those promotions, a window or frame containing the merchant's website may appear. Any time you are in a window, you should assume that your personal information is being collected, used and disclosed in accordance with that merchant's policies. This Policy does not apply to information that you supply to those merchants. Any information that you share with them will be used and disclosed in accordance with that merchant's privacy policy. However, once you click on a link to return to our Websites, you can expect that further information that you disclose will be treated in accordance with this Policy.
On occasion, unaffiliated third parties may "frame" pages from our Website in an effort to collect customer information. We are not in any manner responsible in the event that you disclose information to an unaffiliated framing website.
Please be aware that our Website may contain links to other websites on the Internet that are owned and operated by third parties. The information practices of those websites linking from or to our Website are not covered by this Policy. These other websites may send their own cookies to users, collect data, or solicit personal information. Additionally, other companies or ad servers, which place advertising on our Website may collect information about you through the use of cookies when you view or click on their advertising. We cannot control this collection of information. You should contact advertisers directly if you have any questions about their use of the information that they collect.
In arranging to have marketing and promotional information of certain companies or businesses with whom we may have formed a strategic alliance ("Affiliated Companies"), we may disclose to the Affiliated Companies your personally identifiable information, including information such as your email address.
In arranging to have marketing and promotional information of third-party companies that we think might be of interest to you, we may disclose your personally identifiable information, including information such as your email address, to nonaffiliated third parties not controlled by us.
From time to time we may share your personally identifiable information with Affiliated Companies in connection sweepstakes, contests and other promotional offers, including information such as your email address.
We have put in place physical, electronic, and managerial procedures to safeguard and help prevent unauthorized access, maintain data security, and correctly use the information we collect online. The Website has industry-standard security measures in place to protect the loss, misuse, and alteration of the information under our control, and we make good faith efforts to store data in a secure operating environment. Unfortunately, no data transmission over the Internet can be guaranteed to be absolutely secure. As a result, we cannot ensure or warrant the security of any information you transmit to us, and you do so at your own risk.
This Website site is intended for use by persons over the age of 13. We do not seek to collect information about children under the age of 13. No information should be submitted to or posted on this Website by users under 13 years of age. We encourage parents to take an active role in their children's use of the Internet, and to inform them of the potential dangers of providing information about themselves over the Internet. If you are the parent or guardian of a child under 13 years of age and believe that they have disclosed Personally Identifiable Information to us, please contact us at email@example.com so that we may delete the child's information
By using our Website, you consent to our collection and use of this information in accordance with this Policy. If we decide to change our Policy, we will post those changes on this page so that you are always aware of what information we collect, how we use it, and under what circumstances we disclose it.
This Website has industry-standard security measures in place to protect the loss, misuse, and alteration of the information under our control, and we make good faith efforts to store your Personally Identifiable Information in a secure operating environment. Unfortunately, no data transmission over the Internet can be guaranteed to be absolutely secure. As a result, while we strive to protect your Personally Identifiable Information, we cannot ensure or warrant the security of any information you transmit to us, and you do so at your own risk. If we provide you with a user name and password to access portions of the Websites, we disclaim any responsibility for a breach of privacy as a result of your willingly or inadvertently disclosing your user name and password to others.
Like almost every website, our Website is accessible around the world. By visiting the Websites and providing your information, you acknowledge and agree that your information can be stored for the purposes identified in this Policy. We process and store your information in North America and your information may be stored on servers located outside your residential jurisdiction and which may have less stringent privacy practices than your own. If you access the Website from outside the United States, your usage of the Website constitutes consent to the transfer of your data outside of your country and to North America.
California law permits our customers who are California residents to request certain information regarding our disclosure of personal information to third parties for their direct marketing purposes. To make such a request, please send an e-mail to email@example.com or write to us at: Huntington Center at 500 Jefferson Avenue Toledo, Ohio 43604, Attn: Website Administrator.
If you have any comments or questions, you may send an e-mail to email@example.com or write to us at: Huntington Center at 500 Jefferson Avenue Toledo, Ohio 43604, Attn: Website Administrator.


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Commission Home Page
In October 1996, the Commission adopted a long-range plan for higher education in New Jersey. The plan sets forth a vision for the new millennium, which states that "New Jersey's system of higher education aspires to be among the best in the world, embracing excellence, access, and affordability." The aspiration is not for higher education alone, for public investment in higher education directly influences the state's economy and quality of life. The plan suggests specific ways in which higher education can assist the state in addressing its needs and identifies the conditions for achieving an excellent system.
Partnership for Operations
A first condition for excellence is commitment to a partnership to fund the operating costs of the institutions. The partnership concept recognizes that both individuals and society derive benefits from investment in higher education. For public institutions, the Commission calls for the public to support two-thirds of the costs, while students and their families support the remaining one-third. For independent institutions, full funding of the Independent College and University Assistance Act meets the public's partnership goal. Institutions in turn commit to addressing state needs, maintaining a cost-effective delivery system, stabilizing tuition and fees, focusing on academic results, and being accountable to the public.
For county colleges, the public's share should be divided equally between the state and the counties. Beginning in the current (FY 1999) budget, the Governor's commitment to recommend $48 million in additional funding over four years for the county colleges moves the state closer to its partnership share for the sector. As the state's commitment increases, it is imperative that the counties maintain their support at least at current levels to avoid tuition and fee increases and a further skewing of the partnership. In other words, additional state dollars must substitute for those paid by students, not those appropriated by the counties. The colleges in turn must continue to contain their costs and minimize tuition and fee increases.
While the Governor's increased commitment to the community colleges addressed a long-standing imbalance in that sector, the partnership for the public four-year institutions has unfortunately deteriorated rather than improved. During the past decade, costs have grown more rapidly than inflation, largely as a result of salary increases, and state support has not kept pace. It is important that the state and the institutions work to control those costs. At the same time, the state must commit to funding its share of the partnership, and institutions must carefully set spending priorities. Otherwise, tuition and fees will continue to rise, further exacerbating the imbalance.
In its FY 1999 budget policy statement, the Commission proposed that New Jersey supplement its operating aid for public institutions with funding based upon their performance. Providing rewards to those institutions that improve performance in areas critical to the state and its citizens is one method of fostering accountability and encouraging excellence. The public has a right to expect that students will be able to move easily from one sector to another and graduate in a timely fashion, that institutions will operate efficiently and collaboratively, and that they will generate funds from sources other than the state, counties, and students. Subsequently, the Governor recommended, and the Legislature funded, a performance funding initiative. The Commission supports this initiative as a supplement to base funding and encourages its continual refinement as a method of demonstrating the results of the investment in higher education.
New Jersey recognized that independent institutions are important components of the system when it enacted the Independent College and University Assistance Act in 1979. This program, which provides operating aid on the basis of New Jersey residents served by the 14 institutions with a public mission, received a $1 million increase in FY 1999, but funding still falls short of the level envisioned in the act. An additional increase in FY 2000 will restore the partnership with this sector, which serves more than 20,000 undergraduate New Jersey students.
Support for Student Assistance
A second condition for excellence is continuing support for student assistance programs. The system must expand educational opportunity, particularly for students from underserved populations, and offer financial assistance commensurate with need to enable access for all students who can benefit. As noted in both the long-range plan and the report of the Blue-Ribbon Task Force on the Capacity of New Jersey's Higher Education System, 13 percent of New Jersey's population is African American and 9 percent is of Hispanic origin, and these proportions are growing. Twenty-five percent of the population lives in households where English is not the primary language.
New Jersey serves students according to their special needs, whether those are overcoming poverty and poor academic preparation, acquiring English language skills, or facing disabilities. For fiscal year 2000, support for students and campus programs in the Educational Opportunity Fund should be increased. The program for the Education of Language Minority Students should be doubled. In future years, additional funds should be targeted to the Special Needs and College Bound programs as their grant cycles are renewed.
Not to be overlooked is the Tuition Aid Grant (TAG) program, which provides access, affordability, and choice for students demonstrating financial need. TAG grants should enable the neediest full-time students to attend public institutions tuition-free, meet the full entitlement for these students at independent institutions, and defray a commensurate proportion of tuition for other eligible students. Because of the uncertainty of projecting tuition increases at the time the budget is developed, the Commission suggests planning for future growth at a rate approximating increases in the cost of living. The Commission also believes that the TAG program should be enhanced to offer grants to the most economically disadvantaged part-time students.
Preservation and Renewal of Capital Facilities
An additional condition of excellence is capital funding, including support for technology. New Jersey's colleges and universities will not achieve excellence with outmoded technology or facilities that suffer from deferred maintenance. During the last decade, New Jersey took steps to meet some of these needs, notably through the Equipment Leasing, Higher Education Technology Infrastructure, and Higher Education Facilities Trust Funds. But as we enter a new century, additional support is necessary.
In past policy statements, the Commission recommended a five-year capital renewal program for the public four-year institutions and an expansion of the Chapter 12 debt service program for the community colleges. In the last fiscal year, the Legislature and Governor enacted a significant expansion of Chapter 12. The needs of the four-year public institutions, as well as those of the independent colleges and universities, have not been similarly addressed. The Commission therefore urges additional funding for programs that focus on the capital needs of these sectors.
Meeting State Needs
For FY 2000, the Commission requests funding for three initiatives to meet statewide needs. The first supports the goal of a seamless transition between institutions by providing the development and implementation costs of the Articulation System, called ARTSYS. This computerized system enables students to determine which courses will transfer for credit and enables colleges to review transcripts electronically. Second, the Commission proposes the second year of the two-year program of urban revitalization incentive grants. In FY 1999, the Commission awarded 13 planning grants to 12 institutions located in 8 qualifying cities. For FY 2000, the Commission recommends funding for implementation grants of up to $1 million in each of the eight cities. Third is support for the ongoing operation and maintenance of the higher education network backbone. The backbone, which is critical to building statewide high-speed connectivity, will be established as a result of a partnership between the state and its higher education institutions, and it will take a continuing partnership to support it.
The costs of higher education and who pays are at the top of state and national policy agendas. Revenue for public higher education is generated primarily from two sources - the government, which benefits from an educated populace, and the students, who benefit directly by furthering their education and increasing their earning potential. The national trend over the past decade has shifted a greater portion of the total cost of higher education to students. The situation in New Jersey has been no different.
If New Jersey wishes, however, we can reverse the trend. Costs need to be contained and public support must be increased to keep higher education affordable and accessible. But cost cannot be the only focus. Rather, cost is but one part of the investment decision, which also looks at the expected returns. Accountability reporting and performance funding demonstrate the results of past investment. Future results will depend upon state support for the partnership, student assistance, capital, and special statewide needs - all investments that enhance New Jersey and are vital if the state's colleges and universities are to be among the best in the world.


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Chicken is now working reasonably well for me. I've had to pull a fairly recent version directly from the source repository and build it with MinGW / MSYS but that went pretty well. I'm mildly concerned that the version I am working with is probably unique.
In the past, I have developed code using stable C++ compilers or stable versions of Perl that millions of other programmers are using. This gives me a nice secure feeling that if there are any bugs in my programs, it will be down to my code and I'll be able to fix it myself. Using this bleeding edge chicken, I'll probably have niggling doubts that there could be problems which are down to the compiler and/or third party libraries.
I have installed a number of chicken libraries, or eggs as they are called and they have mostly worked fine. In particular, I was surprised at how smoothly the sqlite3 install went, although I have yet to test the functionality. Overall, I'm happy with the chicken module system. I'm still having a number of problems with one useful module though – srfi-19, the date/time scheme extension. I'll need to look into that a bit further.


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News tagged with gestures
A gesture is a form of non-verbal communication made with a part of the body, used instead of or in combination with verbal communication. The language of gesture allows individuals to express a variety of feelings and thoughts, from contempt and hostility to approval and affection. Most people use gestures and body language in addition to words when they speak. The use of gesture as language by some ethnic groups is more common than in others, and the amount of such gesturing that is considered culturally acceptable varies from one location to the next.
Gesticulation: any movement made by a foreigner. (J. B. Morton)
This text uses material from Wikipedia, licensed under CC BY-SA