In recent years, the increasing emergence of independent inventors, (1) designers and, craftspeople has become known as the maker movement. With this growing number of makers has arisen new demand for (2) "makerspaces." Public libraries, as community centers that promote access to knowledge and resources, are (3) top-notch spots for such spaces. (4) Empowering patrons to become makers offers public libraries a way to fulfill their central mission.

Makerspaces provide a valuable service to a library's users by making available costly equipment that would be difficult for individuals to procure. The FabLab in Exeter Library, Devon, England, offers an array of tools, including 3-D printers and photo scanners, as well as materials for arts, crafts, and (5) materials for building and repairing machines. One patron, artist Rivka Jacobs, who designs hats and headpieces, uses the FabLab's vinyl cutter and laser engraver to experiment with unusual materials and innovative techniques.(6) The first makerspace to open in a United Kingdom public library, the FabLab offers workshops and events that expose community members to technologies they might not have encountered otherwise.

(7) As these spaces are versatile, the contents and configuration of makerspaces can be tailored to the needs of individual communities. In 2011, the Allen County Public Library in Fort Wayne, Indiana, installed a SO-foot trailer in its parking lot that served as a makerspace until the library could (8) remedy the main building to accommodate such a space indoors. The trailer, owned by the nonprofit educational organization TekVenture, provided equipment such as an electronics workbench, an injection molding machine, and a 3-D printer, along with educational programming that (9) integrate these technologies. Jeff Krull, the library's director at the time, saw this effort as vital to his organization's broader mission: "The library is in the learning business, not just the book business," he said.

Because the primary benefit of libraries is that they are free to the (10) public, so libraries that desire to build and maintain makerspaces must rely on grants and other external sources of funding rather than put the burden solely on patrons-though many makerspaces, like the FabLab, may still necessitate the payment of a fee. While some caution that even small fees will likely pose a barrier to some patrons-and libraries with limited resources face the impediment of not being able to afford the initial expenditure for machines-an investment in makerspaces is a worthwhile one. By inspiring the creators of the future and furnishing (11) one with needed resources, makerspaces offer a new way for libraries to enrich their communities.

Since 1961, Preservation Hall, a modest 31-by- 20-foot space in New Orleans, has been (12) an important venue for the revival and conservation of traditional jazz. It has no air conditioning, (13) and having no stage, and no food or drink, and the audience sits on hard wooden benches or on the floor. (14) Indeed, in the last 50 years, over two million eager listeners have passed through (15) it's doors. "There is no question that preservation Hall saved New Orleans jazz," (16) says the founder of the New Orleans Jazz & Heritage Festival. He is George Wein.

In the mid-1950s, art dealer Larry Borenstein started a local jazz resurgence in New Orleans. He opened a small gallery, Associated Artists Studio, in the French Quarter and invited jazz musicians to hold informal jam sessions to bring in customers. At the time, traditional jazz-a style of music that originated in New Orleans at the turn of the twentieth century and that combines marching band rhythms with group improvisation-was overshadowed by new types of music such as rock and roll. There were few venues dedicated to jazz concerts, and (17) lots of elderly folks who played jazz were out of work.

The informal sessions at Associated Artists allowed these musicians to make music again and to earn a small income. The sessions steadily grew (18) in popularity, and eventually Borenstein moved his gallery next door, keeping the original space exclusively for the music. On June 10, 1961, the hall started holding nightly jazz concerts for (19) donations. It being the official start of Preservation Hall. In September of that year, Borenstein asked a young couple from Philadelphia, Allan and Sandra Jaffe, to take over the day-to-day operations of Preservation Hall.

[1] The Jaffes had a vision for the hall as the home of traditional jazz and the musicians who made it. [2] Allan rode around New Orleans on his scooter, looking for out-of-work musicians and offering them jobs at Preservation Hall. [3] In 1963, the Jaffes started the Preservation Hall Jazz Band, the house band of the hall, with Allan on tuba. [4] Over the years, older musicians in the band (20) are passing on their seats to a younger generation of musicians who continue to keep traditional jazz alive. [5] Ben Jaffe, who in 1993 took over the management of the hall from his parents and the role of tuba player, explains, "We have a lot of responsibility to protect the traditions that we all grew up with, and the people whose chairs we now sit in." (21)

 Preservation Hall has not changed much over the years-it is still a single room with worn floorboards and (22) now with an entrance fee of $15 to $20--but this adds to its authenticity. Ben Jaffe has no plans to renovate it. "You don't change something that's already perfect!" he explains.

In the twentieth century, one hallmark of a successful career (23) has been longevity of service with a single employer. When hiring new staff, employers looked unfavorably on resumes of applicants—referred to as job-hoppers—(24) who changed jobs and positions repeatedly after a few months or a couple of years. Many employers were unwilling to hire and train such applicants because their work history suggested they would soon leave again. But should a history of job hopping be considered an impediment to employment in today's job market? Not necessarily.

The results of a 2014 survey (25) suggests that attitudes toward job-hopping are evolving. Whereas 41 percent of respondents born in the years 1946 to 1964 indicated that they believe workers should stay in a job for at least five years before looking for a new role, (26) almost half of the respondents born in the years 1982 to 2002 thought workers should move within a year. Job hopping simply doesn't carry the stigma it once did: for example, (27) 13 percent of respondents in the younger demographic indicated that workers should only be expected to stay in a job for a year or less before looking for a new position.

Employers would do well to recognize that job-hoppers most likely have acquired broad-and potentially valuable-sets of skills. From mastering a range of software and technology to (28) different learned approaches to certain tasks, job-hoppers have, in each of their jobs, most likely learned unique skills. (29) First, being able to adapt to different work environments signals prospective employees' flexibility and ability to acquire new skills as needed. A job (30) candidates' experiences in multiple corporate environments should thus be regarded as an asset, not a risk.

(31) Nevertheless, job-hoppers vary in the average length of time they stay at one place. Writing for the Harvard Business Review, Professor Monika Hamori warns that job-hopping isn't necessarily a fast track to career (32) success, suggests that certain employees are more likely to find success by demonstrating their value to their employer, something that is generally accomplished over time and can lead to advancement. Hamori's analysis of non-CEO executive careers reveals that "inside moves produced a considerably higher percentage and faster pace of promotions." Job-hopping is more accepted now, but too many employment changes can still be a red (33) flag. This red flag could be a sign of poor performance or trouble getting along with colleagues. 

However, if a candidate's job-hopping has facilitated the development of useful knowledge and skills, it shouldn't be regarded as a detriment. Rather, the varied experiences of job-hoppers should be valued.

On August 25, 2012, NASA's Voyager 1 space probe became the first spacecraft in history to exit the heliosphere, the magnetic "bubble" filled with charged particles emitted by the Sun. Scientists had been anticipating this event since 1998, when Voyager 1, which had completed flybys of Jupiter and Saturn years before, overtook the Pioneer 10 spacecraft to earn the title of most distant human-made object. Unfortunately, scientists did not get to celebrate Voyager l's (34) unplanned accomplishment until one year later-when they found out about it.

How did the project's leaders (35) miss such a long-awaited development? Voyager l's progress to the edge of the heliosphere was tracked by space physicists, scientists who study magnetic fields and gases of electrically charged (36) particle's called plasma's. They had initially planned to use Voyager l's plasma density data to determine the moment of the crossing into interstellar space, but the instrument designed to collect this information failed, and they were left looking in vain for a shift in the magnetic field. (37) Therefore, after a second instrument detected oscillations in the plasma surrounding the probe, the space physicists realized they could use (38) it to infer the plasma's density. Scouring old data for similar oscillations, (39) they concluded in 2013 that Voyager 1 had exited the heliosphere a full year earlier.

Although the excited space physicists contended that Voyager 1 had entered interstellar space, astronomers countered that the probe had not yet left the solar system. Astronomers generally consider the region where the Sun's gravitational influence becomes weaker than that of neighboring stars to mark the end of the solar system and the beginning of interstellar space. NASA defines that boundary as the outer edge of the Oort cloud, an enormous shell of small icy (40) objects that is named for the Dutch astronomer, Jan Hendrik Oort. (41) At its current speed, Voyager 1 will not reach the inner edge of the Oort cloud for another 300 years-(42) and will approach the star Gliese 445 in about 40,000 years.

In other words, astronomers are not likely to be able to celebrate Voyager l's crossing into interstellar space until many years from now. Moreover, like the space physicists, they will probably not know when it happens: Voyager 1 should be able to collect and transmit data only until 2025, when its batteries are projected to fail. Nevertheless, the intrepid spacecraft will sail boldly onward, perhaps forever, bearing salutations from its (43) home planet from whence it came. Onboard is a gold record containing 116 images, (44) speaking greetings in 55 ancient and modern languages, and a variety of natural sounds highlighting the diversity of life on faraway Earth.