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When I came out to my best friend who is bisexual, I was pretty nervous but I knew she would accept me so I kept confident. I came out via text while we played an expose game and we had to write stuff about us and you could guess if it was true or false. I wrote that am trans and use he/him pronouns. And she was just like stunned first and then asked if it was true and I said yes. Then she told me how proud she was of me coming out and that she would try her best to not misgender me. (She misgendered me pretty much all the time in the start, but after like a month it got better but she still forgets my name now sometimes.) (Trans male/13)

Writing a novel about Titanic was a long-held ambition of mine. There was always something about the era, the images of the ship, and the story of the tragic maiden voyage that I found timelessly powerful, tragic, and romantic. After I had talked myself out of tackling such an enormous story for years, the centenary year came along in 2012 and gave me the final push to write about Titanic and her powerful legacy.

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I have a strange situation on a report I inherited where several visualisations I have on a page have a CategoryName filter on the visual. I wanted to remove this filter, but moving my mouse over the filter, I get a message stating, "This filter came from a drill action like drill-down, drill-through or cross-report drill." The filter's text is italicised. I cannot remove or modify it in any way.

not sure if this was solved or not, but i hope someone might find this helpful .... i had a similair problem with cards, created on a certain page, that was introducing the same type of message, about "this filter came from a drill action ....". In my case i had my visual (cards) being filtered by another visual on the same page (Clustered Column Chart), that i had it drilled down... Removing the interaction between that (Clustered Column Chart), and the Card, from Format -> Edit Interactions, has removed that filter coming from a drill action ...

Having the same issue. A filter showed up in all my visuals for a specific page but within each "filter on this visual". There is no way to clear it or remove it. When I hover over it it says "this filter came from a drill action like drill down, drill through or cross-report drill".

Objective: Recent literature suggests that diabetes is a risk factor for Parkinson disease (PD). We investigated the clinical features of patients with idiopathic PD (IPD) in whom the onset of diabetes came first.

Just starting with hobby came. I live in Canada and wondering where to buy hobby came? it looks like it is only available in 6ft lengths is that correct? I would like to get a larger spool as my last project had a lot of waste because the last its were just a bit too short. is there such thing as bulk? and what is a good price as I have seen everything from $1.95 for 6ft to $40 for 6ft?

There are two kinds of came: the H-shaped sections that hold two pieces together and the U-shaped sections that are used for the borders. Cames are mostly made of lead, zinc, copper, brass or brass-capped lead.[1][2] Of the metal strips, lead is softer and more flexible, making it easier to cut and bend. The harder metals are used to work with slightly curved lines and pieces that require greater structural support. They can also be used as border came, once again for stability and support.[3]

"The leaf is the surface on either side of the came that overlaps the edges of the glass and is left exposed once the panel has been assembled. It has either a flat or rounded profile and its width is the measurement given when a came size is listed.

The channel runs the length of the came. H-shaped came has 2 back-to-back channels that hold adjoining glass pieces in position on the interior of a stained glass panel. It can also be used as a border came in certain situations. U-shaped came has only one channel and is used as a border around the perimeter of panels.

The heart is the part of the came that the glass pieces rest against inside the channel. The width of lead came pattern lines is usually 1/16 inch and allows for the thickness of the came's heart to fit between the adjoining pieces of glass."[3]

Border cames are U-channel cames that are used on the outside edges of works. The selection of the metal of the came may vary depending upon the work. For instance, zinc may be a solid selection for free-hanging panels, because it is rigid, but lightweight. Architectural panels, on the other hand, are often enclosed in framing and therefore do not require a hard metal.[7]

Bumpers, or lead spacers, are pieces of cut came strips that are left over. They can be used temporarily in the glasswork process to hold together two pieces of glass to estimate the spacing of the finished project.[2][8]

Our son Jalen came out as gay when he was 15 years old. His mom and I were not surprised. We had expected this to be true from a very young age. By the time he told us, we were waiting with open arms. Our entire family celebrates who he is, just as we celebrate the uniqueness, authenticity and beauty of each member of our family.

I remember having seen somwhere that it is possible to tell where a user came from to a website. More specifically, I want to determine the (Google etc.) search that led to my site. How can I do that?

The following film notes were prepared for the New York State Writers Institute by Kevin Jack Hagopian, Senior Lecturer in Media Studies at Pennsylvania State University:

When The Man Who Came to Dinner went before the cameras in the summer of 1941, the Hollywood Golden Age motion picture studio was one of the most remarkable culture factories since the Renaissance studios of Titian and Tintoretto. And Warner Bros, in Burbank, was one of the most efficient of those factories.

Production went on; the film began shooting in July 1941. Production was luxuriously long for a Warner Bros film; the film didn't wrap until mid-October, 1941, after production had been shut down for some time due to what was described as an injury to Bette Davis' nose --- more likely, one of the endless disputes between Davis and the Warner Bros over creative issues on this or another film. The efficiencies of scale of the old motion picture studios are hard to imagine today. The Man Who Came to Dinner was of 35 features Warners released in 1942, including Yankee Doodle Dandy and Now, Voyager, along with dozens of shorts, newsreels, and trailers. Production at this level required immense resources. The Man Who Came to Dinner's art director, Robert Haas, for instance, could have relied on a full-blown research department to help him portray the house of the harassed Middle West burger Ernest Stanley. Haas also had a staff of experienced set carpenters to build it the house, and a huge props department to furnish it. Most of the action takes place in the Stanley house, so for the home's interior first floor, Haas designed one of the complex "unit sets" Warners was noted for. (The most legendary was the Rick's Caf Americain set for Casablanca.) Standing sets around the Warners lot, and short hops to familiar locations in the Los Angeles area would fill in the rest. The house exterior was probably constructed on one of Warners' several street sets, probably the "suburban street" set. The film's railroad station would be familiar to viewers from other films, like 1942's King's Row and The Hard Way. Indeed, the "look" of a film like The Man Who Came to Dinner was less the product of a director than of a director of photography (like The Man Who Came to Dinner's ace cinematographer, Tony Gaudio), and the art directors and composers who worked so frequently for a studio that their imprint became that of the studio. After shooting, the film went on to editing and previewing, while the creative personnel went on to other things. Davis was to do three films in 1942, while director Keighley immediately went to another adaptation of a theatrical property, George Washington Slept Here, a film which almost certainly used the Stanley family house set, redressed as a dilapidated farmhouse made over into a handsome country home

In a few years, it would be over. Attendance at the movies would peak in 1946, at more than 90,000,000 attendances per week, but television, growing families, and the exodus to the suburbs would all conspire to make the motion picture studio of the classical Hollywood period a dinosaur. By the 1947-1948 production season, the studios were already laying off contract players, and even stars became expendable. Bette Davis, the woman they had once called "the fourth Warner Brother," left the studio in 1949, her contract unrenewed. That year, the "Paramount decrees" of 1949 broke up what was left, forcing the studios to comply with anti-trust statutes by selling off their theaters and their production plants in Hollywood, leaving them as the distribution entities we know today.

Niemller's attitude toward the Nazi regime further transformed in January 1934 after a meeting with Adolf Hitler. Niemller and other prominent Protestant church leaders met Hitler to discuss the relationship between church and state. At this meeting, it became clear that the Gestapo (the Secret State Police) had tapped Niemller's phone. The Pastors Emergency League (Pfarrernotbund), which Niemller had helped found in 1933, was also under close state surveillance. Hitler's hostility made it clear to Niemller that the Protestant Church and the Nazi state could not be reconciled unless Protestants were willing to compromise their faith. Niemller was not willing to do this.

As a result, Niemller became an outspoken critic of Nazi church policy. On July 1, 1937, the Gestapo arrested and imprisoned him as a political prisoner for the next eight years. A number of international religious leaders made calls for his release. However, Niemller was not freed until May 1945, when the Allies defeated Nazi Germany and liberated him and other concentration camp prisoners. 2351a5e196