Silage is a type of fodder made from green foliage crops which have been preserved by acidification, achieved through fermentation. It can be fed to cattle and other such ruminants; the fermentation and storage process is called ensilage, ensiling or silaging, is made from grass crops, including maize, sorghum or other cereals, using the entire green plant. Silage can be made from many field crops, special terms may be used depending on type: oatlage for oats, haylage for alfalfa. Silage can be made by one or more of the following methods: placing cut green vegetation in a silo or pit; the crops most used for ensilage are the ordinary grasses, alfalfa, oats and maize. Many crops have ensilaging potential, including potatoes and various weeds, notably spurrey such as Spergula arvensis. Silage must be made from plant material with a suitable moisture content: about 50% to 60% depending on the means of storage, the degree of compression, the amount of water that will be lost in storage, but not exceeding 75%.

Weather during harvest need not be as dry as when harvesting for drying. For corn, harvest begins when the whole-plant moisture is at a suitable level, ideally a few days before it is ripe. For pasture-type crops, the grass is mown and allowed to wilt for a day or so until the moisture content drops to a suitable level. Ideally the crop is mowed when in full flower, deposited in the silo on the day of its cutting. After harvesting, crops are shredded to pieces about 0.5 in long. The material is spread in uniform layers over the floor of the silo, packed; when the silo is filled or the stack built, a layer of straw or some other dry porous substance may be spread over the surface. In the silo the pressure of the material, when chaffed, excludes air from all but the top layer. Forage harvesters collect and chop the plant material, deposit it in trucks or wagons; these forage harvesters can be either self-propelled. Harvesters blow the chaff into the wagon through a chute at the side of the machine.

Chaff may be emptied into a bagger, which puts the silage into a large plastic bag, laid out on the ground. In North America, northwestern Europe, New Zealand it is common for silage to be placed in large heaps on the ground, rolled by tractor to push out the air covered with plastic sheets that are held down by used tires or tire ring walls. In New Zealand and Northern Europe,'bunkers' made of concrete or old wooden railway ties and built into the side of a bank are sometimes used; the chopped grass can be dumped in at the top, to be drawn from the bottom in winter. This requires considerable effort to compress the stack in the silo to cure it properly. Again, the pit weighed down with tires. In an alternative method, the cut vegetation is baled, making silage bales; the grass or other forage is cut and dried until it contains 30–40% moisture. It is made into large bales which are wrapped in plastic to exclude air; the plastic may wrap the whole of each cylindrical or cuboid bale, or be wrapped around only the curved sides of a cylindrical bale, leaving the ends uncovered.

In this case, the bales are placed end to end on the ground, making a long continuous "sausage" of silage at the side of a field. The wrapping may be performed by a bale wrapper, while the baled silage is handled using a bale handler or a front-loader, either impaling the bale on a flap, or by using a special grab; the flaps do not hole the bales. In the UK, baled silage is most made in round bales about 4 feet by 4 feet, individually wrapped with four to six layers of "bale wrap plastic"; the percentage of dry matter can vary from about 20% dry matter upwards. The continuous "sausage" referred to above is made with a special machine which wraps the bales as they are pushed through a rotating hoop which applies the bale wrap to the outside of the bales in a continuous wrap; the machine places the bales on the ground after wrapping by moving forward during the wrapping process. Haylage sometimes refers to high dry matter silage of around 40% to 60% made from hay. Horse haylage is 60% to 70% dry matter, made in small bales or larger bales.

Handling of wrapped bales is most with some type of gripper that squeezes the plastic-covered bale between two metal parts to avoid puncturing the plastic. Simple fixed versions are available for round bales which are made of two shaped pipes or tubes spaced apart to slide under the sides of the bale, but when lifted will not let it slip through. Used on the tractor rear three-point linkage, they incorporate a trip tipping mechanism which can flip the bales over on to the flat side/end for storage on the thickest plastic layers. Silage undergoes anaerobic fermentation, which starts about 48 hours after the silo is filled, converts sugars to acids. Fermentation is complete after about two weeks. Before anaerobic fermentation starts, there is an aerobic phase in which the trapped oxygen is consumed. How the fodder is packed determines the nature of the resulting silage by regulating the chemical reactions that occur in th

Reepham is a small market town in the English county of Norfolk, situated on the B1145 road between the Bure and Wensum valleys. The town is 12 miles northwest of Norwich. At the time of the 2001 census the civil parish had a population of 2,455 residents in 970 households, occupying an area of 1,909 hectares. Increasing to a population of 2,709 in 1,169 househoids at the 2011 census; the town is mentioned in the Domesday Book of 1086, in which it is listed as Refham meaning the bailiff's or reeve's manor from the Old English gerafa and ham. Reepham has had market town status since 1277; the town has undergone significant development throughout its life, with the housing in the area showing a mix of vintages and purposes. Recent housing developments have been on brownfield land so have not expanded the perimeter of the town; the town has both a secondary school Reepham High School and College, which achieved the highest grade—Outstanding—in every category in its 2008 Ofsted inspection, a primary school.

The Reepham Society is a registered charity, set up in 1976 to stimulate public interest in Reepham, Kerdiston and Whitwell. The town was one of the filming locations of Agatha Christie's Poirot episode The Tragedy at Marsdon Manor. Reepham is one of only two places in Europe to have three churches on the same site. Reepham's church of St. Mary is joined by its choir vestry to Whitwell; the third church belonged to Hackford but burned down in 1543 and now only a fragment of the tower wall remains on the left of the path leading towards the market place. The three churches were built on their parish boundaries. Reepham church contains the fine tomb of Sir Roger de Kerdiston, 1337. In medieval times, Reepham Church was an important place of pilgrimage. Although it was less famous than the shrine at Walsingham, people came on pilgrimage to Reepham to visit the image of Our Lady of Reepham, which had many miracles attributed to it. What form this image took is unknown, it may have been a statue, or a wood carving.

There is evidence to suggest its importance and it is mentioned in the 15th-century will of Alice Cook of Horstead, who wrote that after her death, in order to smooth her passage from this world to the next, she would "Have a man goo a pilgrimage to our Lady of Reifham". The town sign was designed by the local high school and installed in 1992. Carved by the head of Craft Design & Technology Mr. Geldard, painted by male student Kerry Daniels, it depicts three of each of the following elements: churches, farm labourers, lambs and "sisters" and refers to a myth that three sisters were each responsible for building a church. In fact, the three churches were built over several generations; the B1145 runs between Mundesley. By 1882, the town had two stations, located on different tracks and each managed by a separate railway company. Whitwell station was on the M&GN's Norwich City to Melton Constable branch line. Reepham station was on the GEN's Wroxham to County School station line. In 1960, the tracks were joined by the construction of the Themelthorpe Curve.

The work was carried out by British Rail to facilitate the movement of concrete products from Lenwade. Today, the railway trackbed forms the Marriott's Way long-distance footpath. Both former stations are notable stops on the footpath. Sanders Coaches provide bus services to and from the town. National Cycle Route 1 passes through the town; the Reepham and Salle Cricket Club have their home ground in Salle, a village 1.5 miles to the north of the town. George Goodwin Kilburne, artist Keith Simpson, Conservative MP for Broadland Reepham Town Council Our Lady of Reepham

Life Is Killing My Rock'n' Roll is the second studio album by Icelandic neo-psychedelia band Singapore Sling. The album was released in 2004 by Sheptone Records in Iceland and, shortly after, distributed in the United States by the independent label Stinky Records; the album was recorded at Thule Studios in Reykjavík and mastered at Sterling Sound in New York City by Chris Gehringer. The engineer was Aron Arnarsson, assisted by Steini; the album was co-produced by Arnarsson. Apart from the band, additional performers included organ player Jóhann Jóhannsson from the art rock band Apparat Organ Quartet and the female singers Elsa Maria and Anna Margret. AllMusic's review was unfavourable, stating, "Though these tracks plum the depths of their style's bruised and broken magnet trajectory, a lot of Life Is Killing My Rock'n' Roll seems like a sleepwalk. A sleepwalk in a cool leather shades, to be sure, but it's still a sleepwalk." PopMatters wrote, "This album seems to take a step back, it isn't as powerful as the first go-around."Life Is Killing My Rock'n' Roll was chosen by a guest reviewer for Drowned in Sound as "their favourite – or most interesting, most controversial, most fun, most whatever – record of the past decade" in an article on Nordic music.

"Sunday Club" – 3:15 "Curse, Curse" – 3:10 "Rockit" – 2:30 "Nightlife" – 3:34 "Life Is Killing My Rock'n'Roll" – 3:31 "Twisted and Sick" – 3:51 "J. D." – 4:35 "Living Dead" – 4:47 "Sugar" – 4:11 "Guiding Light" – 6:14 "A Little Love" – 5:06 "Let's Go Dancing" – 6:38 Singapore SlingHenrik Bjornsson – vocals, keyboards, bass guitar Helgi Örn Pétursson – guitar, keyboards Einar Pór Kristjannsson – guitar Thorgeir Gudmundsson – bass guitar Bjarni Fr. Johannsson – drums Iggi Sniff – maracas, tambourineAdditional membersElsa Maria – vocals Johan Johannsson – Wurlitzer organ, Farfisa organ, Moog synthesizer Anna Margret – vocals, backing vocals Life Is Killing My Rock'N' Roll at Discogs

The Huis met de Kabouters is a 19th-century building in Amsterdam, so named because the facade is decorated with two figures of gnomes. The building has held rijksmonument status since 1984; the house is at Ceintuurbaan 251-255 in the De Pijp district, near the Nieuwe Amstelbrug bridge across the river Amstel. The building is 27 metres in width, 13 metres in depth and 17 metres in height, consists of three separate houses, each with a ground floor, three residential storeys and an attic storey; the building contains 12 separate apartments, seven of which are rented out and five of which are owned by the residents. The richly ornate building dates to 1884, it was designed by A. C. Boerma in a mix of architectural styles; the building has Gothic Revival elements such as lancet windows and gargoyles, Renaissance Revival elements such as kruiskozijn windows and stone blocks, Swiss chalet style elements such as abundant wood carving. The facade is made of brick interspersed with sandstone elements, features three wooden bay windows.

The facade is decorated with a variety of ornaments, including gnomes and eagles. The gnomes along the edge of the roof, each measuring two and half metres in height, appear to be tossing a ball back and forth. According to local legend, the ball switches hands from one gnome to the other at midnight daily or, in other versions, only on New Year's Eve or on the 29th of February in leap years, it is not known. According to one explanation, they represent two contractors. Or they may represent the man who commissioned the building, as his last name was Van Ballegooijen

Domino is an album by Roland Kirk, released on Mercury Records in November 1962. It was reissued in 2000 on Verve with bonus tracks featuring sessions with Herbie Hancock, it includes Kirk's tribute to Thelonious Monk and Charles Mingus, "Where Monk and Mingus Live", in a medley with the former's "Let's Call This". The Allmusic review by Lindsay Planer states "The expanding musical universe of Rahsaan Roland Kirk continues its orbit on Domino. While always true to his exceptional talents, Kirk's previous efforts are somewhat derivative when compared to his and more aggressive sound. On Domino, the genesis of his more assertive presence is evident." "Domino" – 3:16 "Meeting on Termini's Corner" – 3:41 "Time" – 3:13 "Lament" – 3:40 "A Stritch in Time" – 5:06 "3-in-1 Without the Oil – 2:35 "Get Out of Town" – 4:49 "Rolando" – 3:47 "I Believe in You" – 4:26 "E. D." – 2:36 "Where Monk and Mingus Live"/"Let's Call This" / – 4:12 "Domino" – 4:07 "I Didn't Know What Time It Was" – 3:15 "I Didn't Know What Time It Was" – 2:18 "I Didn't Know What Time It Was" – 2:21 "Someone to Watch Over Me" – 2:37 "Someone to Watch Over Me" – 3:38 "Termini's Corner" – 2:35 "Termini's Corner" – 2:28 "Termini's Corner" – 2:45 "Termini's Corner" – 4:10 "When the Sun Comes Out" – 2:48 "When the Sun Comes Out" – 2:05 "When the Sun Comes Out" – 2:44 "Time Races With Emit" – 0:22 Roland Kirk - flute, tenor sax, stritch, nose flute, siren Henry Duncan - drums Herbie Hancock - piano Roy Haynes - drums Andrew Hill - piano, celeste Wynton Kelly - piano Vernon Martin - bass Jack Tracy - production

War is a painting created by Portuguese-British visual artist Paula Rego in 2003. War is a large pastel on paper composition measuring 1600mm x 1200mm. A rabbit-headed woman stands prominently in the center carrying a wounded child, surrounded by several realistic and fantastical figures recalling a style Rego describes as "beautiful grotesque". For The Telegraph's Alastair Sooke, "The more you look at War, the curiouser and curiouser it becomes. Rego's white rabbits owe more to Richard Kelly's film Donnie Darko than Lewis Carroll's Wonderland." The painting first appeared as part of Rego's "Jane Eyre and Other Stories" exhibition at Marlborough Fine Art in London in 2003. It was inspired by a photograph that appeared in The Guardian near the beginning of the Iraq War, in which a girl in a white dress is seen running from an explosion, with a woman and her baby unmoving behind her. In an interview conducted in relation to the Museo Nacional Centro de Arte Reina Sofía's 2007 exhibition, Rego said of this painting, "I thought I would do a picture about these children getting hurt, but I turned them into rabbits' heads, like masks.

It’s difficult to do it with humans, it doesn’t get the same kind of feel at all. It seemed more real to transform them into creatures."The composition features several recurring themes and motifs in Rego's work including social criticism and rabbits or fairy tale imagery generally. Rego donated War to the Tate's permanent collection in 2005