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HomeTabloidRelationshipsStep fatherhood: A bond most misunderstood
Step fatherhood: A bond most misunderstood
June 29, 2009 Robert Mull Relationships 0
Why is there a stigma attached to the word 'stepfather' and the relation frowned upon by most people?
"You're not my real dad and I don't like it when you pretend to care for me. Stop being extra sweet!" That's what Bhavini said to Subhash, her stepfather of two months, after she came home from a crazy day at school. It had been 60 days since he got married to Bharti but his 'new' nine year old daughter was just not willing to accept him.
Five years down the line, the father-daughter duo is inseparable. "I gave him a hard time initially but soon realised that I could not have got a better father than him. He is one of those few people who take my side and stand up for me when things get bad," says Bhavini, now in her teens. "He is my friend, my father, but most importantly, my strength. The amount of love he has for me is unbelievable, considering I am not his biological child. We are so blessed to have him in our lives, and I am honoured to call him dad!" she adds, clinging on to an emotional father.
From age-old fairy tales to modern movies, step-dads have gotten a bad rap. Through this story, we bow to not only biological fathers, but also stepfathers who have given their entire effort to blend with the bond that is not biological, that does not need the affirmation of society and a bond that is based purely on love, trust and protection.
Stepfather struggles
Stepfathers have been conveniently cornered as evil men, as people who are harsh on their kids and difficult to deal with. But it was only while working on this story that I got to see a totally different side of the coin – A side of a father, who has decided to shelter, protect and nurture a child altruistically. Who doesn't hesitate to heed for his kids' fussy demands and saves for their future. But how difficult is it for him to do all this selflessly, and be still tagged as not-the-real-father? "It is difficult, not so much because of what other people think about you but because of how your kids get affected (in my case) because of the influence of society. After our marriage, we hurried for a family holiday and the kids were quite friendly with me. It was only when they mingled with other kids that their behaviour suddenly changed. It's been two years but the awkwardness still remains," answers Yatin Kakkar, a father of two and a lawyer by profession.
Troubled innocence
And how easy is it for the child to adapt to such sudden changes? A child who has to encounter unwelcoming stares when he goes to school, to play? "When I went to play outside my house for the first time after my parents' marriage, I was completely ignored by my friends. I even overheard one girl telling others how my first father had died and that I had a stepfather now," says Prateeksha Jain, a 23 year old girl.
It is mostly the fear in the child of being neglected by others that also leads to a feeling of indifference and possible resentment towards the new parent. "It is hard for a child to understand and not get influenced by all these stereotyped ideas of media and society and thus he or she builds a hate relationship with the father," says Dr. Samir Parikh, a clinical psychiatrist.
The word 'stepfather' doesn't exist for me: Sikander Kher
For actor Sikander Kher, whose mother Kirron Kher divorced his biological father Gautam Berry years ago, it's simply 'fantastic' to have a father like Anupam Kher. "Whatever I am today is because of him," says actor Sikander Kher. "As a child also, he was always there for me," he says. And though Sikander is closest to his mom, with dad too he doesn't mind sharing a secret or two, "Yes, I am quite close to him. He has always been a good father and I love him. That's it! The word 'stepfather' just doesn't exist for me!" he explains.
Mother's role
The magnitude of a mother's role in relationships as sensitive as these is immense. Often, the mother gets caught up in a dilemma about whom to side with when an altercation does start between the father and child.
She has the make or break power and it is unfortunate to note that in most cases, it is her illusiveness that that worsens the situation and drives a deeper wedge in the relationship. "One of the major drawbacks I have seen in such cases is that the mother often defends the child for the wrong reasons. This not only encourages the child to do that thing again, but it also makes him see his father in the wrong light, " says Dr Aruna Broota, clinical psychologist at the Department of Psychology, Delhi University. "If the mother wants her husband and child to have a healthy relationship, she should not come in between them," she adds.
Step-fathers are probably one of the most misfortunate and misunderstood souls on this planet. Though not all of them would be eager to make an effort to know their child and get in his/her good books, yet there are a majority for whom their child's smile is worth all the gold in this world.
Here's a toast to a sensitive yet sacred bond that is yet to get its due credit.
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A delegation of the European Union Affairs Committee of the Riigikogu is currently visiting Georgia to meet with their Georgian colleagues as well as visit the country's control line with Abkhazia.
Committee chairman Toomas Vitsut (Centre) said that Georgia is the Eastern Partnership country that has made the most headway toward the EU, but it still has many impasses to resolve.
"The purpose of our visit is to get an overview of the current situation and developmental trends in Georgua," the chairman explained. "Estonia continues to support Georgia on its path toward the EU, and is willing to fully share its experiences in carrying out reforms and organising administrative work."
According to Vitsut, it is important in the current security situation that Georgia continues its efforts to join NATO, and Estonia is doing everything in its power to support this.
The Estonian delegation is to meet with First Deputy Chairperson of Parliament Tamar Chugoshvili, Chair of the EU Integration Committee Tamar Khulordava and Chairperson of the Committee on Foreign Affairs of the Parliament of. Georgia Sophie Katsarava on Tuesday.
On Wednesday, the delegation will visit the administrative control line between Georgia and Abkhazia. The Estonian committee members will also meet with Deputy Minister of Foreign Affairs Vakhtang Makharoblishvili and Director of Information Center on NATO and EU Nino Bolkvadze, as well as members of the Georgia-Estonia friendship group of the Parliament of Georgia.
The European Union Affairs Committee delegation, headed by Vitsut, also includes Monika Haukanõmm (Free), Tarmo Kruusimäe (Pro Patria), Jaak Madison (EKRE) and Liisa Oviir (SDE).


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We had a bit of a hiccup last night. One of the servers was accidentally left connected to the load balancer. This means that around 10:30pm last night people visiting the community who should have gotten the message about the community being down, instead were connected to a testing copy of our database.
There were a few posts made to that testing database that were then lost when we restored the production database to bring the community back up.
If you are one of the folks who made one of those posts, unfortunately what you wrote was lost. If you are willing, please return to that discussion and re-write what you intended to say.
If you received a subscription email that took you to a different post or topic than the link indicates, then that subscription was generated from one of the deleted posts.
Our sincere apologies to those of you who lost a post that you took the time to write, and to anyone who has confusing subscription emails from last night.
Hey, the new SpiceTrainer signature! Sweet!!
Loving the layout of this blog and thanks for the information Nic!
Thanks Nic :D one of those lost posts was not mine thankfully :D I love the updates!
That's a shame, really. I posted the greatest post in the world last night...this is just a Tribute.
Maybe the legend of your post live on!
Ah. And here I was thinking that SpiceRex must have eaten them for a midnight snack.
Here is a picture of him doing just that.
Oh dear! I bet that was a true head in hands moment when you realised... I hate it when stuff like that happens - true hand to forehead slapping moment!
It was indeed :) We're not immune to having those sorts of moments here at Spiceworks.
[Content removed by moderator] indeed!
lol I saw that one yesterday (I think it was when I clicked on a link to a deleted post).
That has to be one of the best 404 pages I've seen!
This is even better than the "trained monkeys are fixing the problem" page!
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Responding to this afternoon's report published by An Garda Síochana, Fianna Fáil's Justice Spokesperson Jim O'Callaghan said, "Youth offending in Ireland remains a very complex matter and many of those that present to our legal system tend to come from quite distressing, problematic circumstances. Despite this, however, those who have committed a crime should face a sanction of some degree.
"It is my understanding that a number of the cases in question involved very serious offences and that is of course extremely worrying. Imprisonment is not always the appropriate action to deal with those whose behaviour has led to their involvement with the youth justice system, but that is not to say that some 8,000 reported crimes should go without targeted, strategic attention.
"Should these crimes have gone unpunished due to administrative error or as a result of Garda negligence, it is essential that both the Minister and Government respond. Public safety is paramount and if it was in any way jeopardised by failing to penalise these serious crimes, explanations must be provided.


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The Glass Menagerie America is known around the world as the land of opportunity, a place where you can follow your dreams. Tom 's symbols are the movies and merchant marine. Divorce is the easier option, but if you and … your partner are willing to work at it, marriage is the better choice for better financial, mental, and physical health. Amanda continually attempts to live in the past. Sure he turns to his thesis side for a while. At age 28 is when he moved to New Orleans and actually changed his name to Tennessee Williams because that is where his father was from. Through the eyes of Tom, the viewer gets a glance into the life of his family in the pre-war depression era; his mother, a Southern belle desperately clinging to the past; his sister, a woman too fragile to function in society; and himself, a struggling, young poet working at a warehouse to pay the bills.
Essay titled essay detailed plot summary. In the play she appears to be a constantly worried about her families future. Glass menagerie puppy stuff receiving. Indicate what lesson you think the reader is to take away from a play that lacks a satisfying conclusion. New York: Chelsea House, 1988.
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She longed to have the life she had as a girl and young woman with gentleman callers and being the center of attention; her reality though, was a much more dismal existence with a son who worked at a factory making little money at a job he despised and a d. Williams' use of symbols adds depth to the play. Though the play had a very realistic feel to it, many people enjoy fairytale endings. Laura unable to survive in the outside world - retreating into their apartment and her glass collection and victrola. Tom's role in his household is to provide for his sister and mother by working at the shoe warehouse. No matter how selfish or farfetched ones dream may be, their goal will always be available.
Providing for a family can be an overwhelming responsibility, for there are many pitfalls along the way, some families are able to cope, some are not, and The Glass Menagerie gives us insight into what truly happens to a family when faced with abandonment. Tom convinces himself that his needs supersede the needs of his family. Thesis Statement Hoe Topic 1 The Equity of the Misguided Menagerie. American history is driven by race more than any other single factor. We see fighting between mother and son over both trivial matters, such as dinner etiquette, and larger issues, such as work and life goals. The home is broken, and each family member survives only because of their dreams, which lie in a fantastic world. Donald Spoto described the new apartment building that Williams and his family relocated to in St.
I would not original in the united individual essay. Laura sits in a dream world with her glass collection, and Jim basks in the praises of his high school glory. At the turn of the century, industrialization and commercialism combined to shape a new tradition in American literature: modernism. His wife, Amanda, regrets that she married a man who worked for a telephone company. Amanda Wingfield was a complex character that encompassed many facets of her personality. Everyday life is so oppressive that each character, through their dreams, retreats into a fantasy world.
Thesis statement glass menagerie often rolls in Not even the dragon's breath will warm you in your halls. Instead, Tom is bound to his family by guilt and emotion. Many of the symbols used in the play try to symbolize some form of escape or difference between reality and illusion. Amanda was a single mother who could never grasp reality. In his play, The Glass Menagerie, Tennessee Williams portrays a southern family in the 1940's trying to deal with life's pressures, and their own fears after they are deserted by their husband and father. Laura's development through the play influences the evolution of the idea, that one must escape enslavement to have the chance for a fulfilling existence.
One is physically disabled, shy, and retiring; the other is psychologically handicapped by her refusal to deal with her circumstances. His life was not a factor in the play. Laura, Amanda, Tom and Jim use various methods to escape the brutalities of life. If you have to push something, the thing to push with is the crust of bread…So chew. Amanda 's yellow dress and bathrobe can express her love she has of the past event. The menagerie of every Christian church is woman; the salary-raiser of every Christian minister is woman.
Williams The Glass The downfall of the family is Tom leaving, and Laura being left as a seemingly unmatchable lass, would be due in part to the fact that their mother dwells too much on the past. Everything represents more than itself. Their mother Amanda, is absolutely a lunatic. Each of the writers is highly skilled and has great expertise in the field of custom essay writing for bachelors or masters. Specifically it will discuss the symbolism and imagery in this play. In some ways this observation is correct; however, she is much more than that.
Tom and Laura, the two dreamers, were pushed by their mom, Amanda, to her frame of mind and the thoughts of a hard working society. When the gentleman arrived Laura was nowhere to be seen and had suddenly become ill. Ben bernanke thesis: the wingfields: existence symbolized in nigeria essays at san jose stage. Reality in The Glass Menagerie In The Glass Menagerie, Tennessee Williams uses the roles of the members of the Wingfield family to highlight the controlling theme of illusion versus reality. Tba alumni, djomo nana msc research paper funded by tb published in the iucn journal of protected areas, parks.
This year I am expanding my operation and I was panic stricken for a while to find out that I lost the e-book. Why should people come to us cracked open like coconuts, their meat glass gnawed through? Her kind and caring nature, and her insatiable love for her children has been overshadowed by her brash and insensitive dialogue. Havent found the Purpose You Want. Use supporting evidence from the book such as quotations with analysis and explanation. Within this scene of The Glass Menagerie Tennessee Williams used dreams, memories, and surrealism in order to portray the complex relationship between the family members. Tom is enslaved by pity for his mother and sister that keeps him working in a warehouse job he hates as he is a poet. All of the figures are glass, but the animals in it vary, and thus fit, one definition of the word.


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Vijaybhai Ramniklal Rupani
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Rajkot West
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Leaders: #Vijaybhai Ramniklal Rupani
Posted By: Aman Singh
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मौत का दरिया है, और डूब के जाना है प्रधानमंत्री को पांव धुलना है और सत्ता बनाना है" क्या यही है गुजरात मोडल ??
Leaders: #Narendra Modi #Vijaybhai Ramniklal Rupani #Ranjanben Dhananjay Bhatt #PRASHANT PATEL BABULAL KUMAR
Posted By: Lokesh Gupta
सीवर में मरते महीने के पचास, किसका साथ किसका विकास? मृतकों की आत्माओं को कोटि कोटि नमन: 2014 में सुप्रीम कोर्ट के आदेशा...
Leaders: #Narendra Modi #Vijaybhai Ramniklal Rupani
Vijay Ramniklal Rupani is an Indian politician from the Bharatiya Janata Party. He succeeded Anandiben Patel and sworn in as the Chief Minister of Gujarat on 7 August 2016. In the Gujarat Legislative Assembly election, 2017, he retained Rajkot West constituency defeating the Indian National Congress candidate Indranil Rajyaguru. He was unanimously elected as the leader of legislature party on 22 December 2017 and continued as the Chief Minister of Gujarat with Nitin Patel as the Deputy Chief Minister. Vijay Rupani started his career as a student activist associated with Akhil Bharatiya Vidyarthi Parishad (ABVP). He joined Rashtriya Swayamsevak Sangh (RSS) and subsequently joined Jan Sangh in 1971. He has been associated with Bharatiya Janata Party since its establishment. He was a Pracharak of RSS from 1978 to 1981. He was elected as a corporator of Rajkot Municipal Corporation (RMC) in 1987 and became the chairman of drainage committee. He became the chairman of standing committee of RMC from 1988 to 1996. He was again elected to RMC in 1995. He served as the mayor of Rajkot from 1996 to 1997. He became BJP's Gujarat unit general secretary in 1998 and served as the chairman of manifesto committee during the chief ministership of Keshubhai Patel. He was appointed as a chairman of Gujarat Tourism in 2006. He was a member of Rajya Sabha from 2006 to 2012. He served as BJP's Gujarat unit general secretary four times and chairman of the Gujarat Municipal Finance Board in 2013 during the chief ministership of Narendra Modi. In August 2014, when Vajubhai Vala, the incumbent speaker of Gujarat Legislative Assembly, resigned as the MLA from Rajkot West, Vijay Rupani was nominated by the BJP to contest his vacant seat. He won the bypoll on 19 October 2014 by a huge margin. He was inducted as a minister in the first cabinet expansion by Chief Minister Anandiben Patel in November 2014 and held the ministry of transport, water supply, labor and employment. On 19 February 2016, Rupani became the state BJP president, replacing R. C. Faldu. He has also served as the BJP state president from February 2016 to August 2016.

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Many cultures covet symbols and icons that they actively use to define themselves, their ideology or their aspirations. Often subverted or appropriated, these icons are rarely subjected to any detailed level of scrutiny or critique. In the creative spirit of turning a portrait upside-down, 3 Deep have disfigured one of Australia's most famous icons and asked the viewer to never take national or cultural axioms at face value.
3 Deep Design is a design and image agency based in Australia with representation in New York, Tokyo and Europe. For over 13 years the practice has crafted design programmes for the the finest galleries, private clients and organisations around the world, notably Steven Klein & Madonna for Louis Vuitton, The Australian Ballet, Seven New York, Metaproject and Toni Maticevski. The practice believes in delivering memorable and considered experiences that are underpinned by a commitment to ideas, design and luxury.


text:
Interview with Jerry Workman
0:00 - Early life, education and exposure to the arts
http://kyoralhistory.com/ohms-viewer-master/viewer.php?cachefile=2012OH02_13_.xml#segment0
Keywords: Berea College; carpenter; Hugh Bailey; Kentucky; Pine Mountain Settlement School; pottery; Pulaski County; weaver
4:21 - Getting involved with the KY Guild / becoming a director of the Guild Train
http://kyoralhistory.com/ohms-viewer-master/viewer.php?cachefile=2012OH02_13_.xml#segment261
Keywords: Berea; Guild Train; Kentucky Guild of Artists and Craftsmen; Pine Mountain Settlement School
7:57 - KY Guild Train stops at Fulton, KY / demonstrations on the Guild train
Keywords: Fulton; Guild Train; Kentucky Guild of Artists and Craftsmen
12:20 - Communities respond positively to the KY Guild Train / local artists involved
Keywords: Education; Workshops
15:31 - Types of crafts on the Guild Train
Keywords: functional crafts; Guild Train; Kentucky Guild of Artists and Craftsmen
16:41 - Workshops
http://kyoralhistory.com/ohms-viewer-master/viewer.php?cachefile=2012OH02_13_.xml#segment1001
Keywords: hook rugs; workshop
18:49 - Guild Train funded by the state and the railroad company
22:10 - Cities would advertise the Train
Keywords: education; Guild Train; Kentucky Guild of Artists and Craftsmen; schools
24:17 - Transitioning from the Guild Train to the Guild Fair / Involvement with the Guild
Keywords: Kentucky Guild of Artists and Craftsmen
25:57 - Why the Guild Train program stopped
Keywords: Guild Train; Kentucky Guild of Artists and Craftsmen
28:34 - Craft Fairs / classes for Guild members
Keywords: art fairs; classes; craft fairs; education; Kentucky Guild of Artists and Craftsmen; workshops
32:39 - Bringing arts and crafts to communities through the Guild Train
34:35 - Purpose of the Guild
36:07 - Importance of craft guilds
Keywords: fellowship; Kentucky Guild of Artists and Craftsmen; marketing
38:24 - Working for the Save the Children organization
Keywords: Kentucky Guild of Artists and Craftsmen:Guild Train; Save the Children
WILLIHNGANZ: Maybe you can tell me about yourself a little bit.
WORKMAN: I grew up in a rural community in Pulaski County. My mother was a weaver and my father was a carpenter. She always believed in making use of whatever was at hand. With this in mind, I came to Berea College. And at Berea, I worked in the Pottery Department under the auspices of Hugh Bailey, which was, he was a great teacher on that. And when I graduated from Berea College, I had gone to Pine Mountain Settlement School in Harlan, Kentucky, to do my student teaching. And the Dogwoods were in bloom. And it was a beautiful place. And I wanted to go back there. However, I married a, I wanted to marry 1:00a Yankee. And so, I waited until this next spring, and we went back there, and we decided that would be a place we'd like to go. And when…while I was in Berea, I got a book of the [unintelligible] handicrafts of the southern highlands, and I took that to Pine Mountain with me - went along with Ellie. And we did a lot of just…on the weekend…just taking the book, going up the Hollow, or up the creek, seeing what we could find, seeing where a weaver was, or where a chair maker was, or a basket maker, or if anyone knew anything about them, or like that. So along with teaching school there, I also had great exposure to the Appalachian area.
WILLIHNGANZ: Now what classes were you teaching there?
WORKMAN: I was teaching elementary school. I had 7th and 8th grade, and then during the summer we had a program where I taught art and science and swimming, to four and five year olds, and this was at Pine Mountain Settlement School. I was employed by the Harlan school system, but I was…they owned the facilities there. So, we were able to rent from them, and use their facilities
WILLIHNGANZ: And were you doing craft work during this period?
WORKMAN: I was, probably the first… I had been weaving just as a boy growing up, making rag rugs, making some money, too. So I could have some spending money, on my mothers loom there. But, I was very interested in crafts. And we 3:00went…probably my first exposure, real exposure, was when we went to the Southern Highland Handicraft Guild Fair. And, at that time, it was held in Gatlinburg, Tennessee. And I saw a lady there who was dyeing wool with plants. And so, I came back to Pine Mountain and discovered that in talking to people, "Oh yes we used to dye wool, and we did this". And so, I just started off dyeing small samples of wool until a break came with the Arrowmont Craft School in Tennessee. They said we would like for you to dye a hundred pounds of wool. I had no idea how much a hundred pounds of wool was, so I said okay. So, we 4:00took our little car down and loaded up a hundred pounds of wool, which the car was full, came back to Pine Mountain. And then, during the next summer, I spent the…doing all the dyeing and the plants on there, and getting them back to the school.
WILLIHNGANZ: How did you get involved with the Guild?
WORKMAN: The first craft fair that they had in Berea, I came to it as a representative from Pine Mountain Settlement School, and so I was at the very first craft fair that they ever had. At that a particular point there was an opening with the Guild for the Train; to be a director for the Train, and so it was a good offer. And, we had young children then, and so we moved back to Berea.
WILLIHNGANZ: Now, as the first…I am not sure what the title was, but the first conductor of the Train, so to speak, the first person who managed the Train, what did you do with the wife and kids?
WORKMAN: I left them at home. There was a place on the train where you could live, but the problem was that it was… I don't know how much you know about the train. The train was composed of two cars, and one car was set up as an exhibition car, and the other car was set up as a demonstration car. So in one car, the exhibition… You pull into a town, you would set up the exhibit, and you would open it up to the public. And then in the other car, was a 6:00demonstration where that there was a loom for weaving, there was a potters wheel, there was different kinds of tools; leather tools and things like that, that you could demonstrate to people. And, also at the same time, one of the other purposes that I was trying to do was, who are the local crafts people in that area, and how to get them in, and how to get them to demonstrate, and how to get them involved into the Kentucky Guild on that.
WILLIHNGANZ: Now. When you got involved with the Train, it hadn't run yet at that point?
WORKMAN: No. I was not the first one, I was the third director.
WILLIHNGANZ: And so, the exhibits were pretty much already set up when you were there?
WORKMAN: No. I set up the exhibits. There had been exhibits set up, but then I contacted the people and got the exhibits, and like that. And then, all we 7:00had to do before we went into that community, was to get a local agency to sponsor us, like either the men's club, or the women's club, civic club or whatever it might be. And then the electrical company would come and turn the electricity on. The water and sewer people would work on that. So, it was a community based thing that the community had to support it coming in like that. One of the problems that we ran into, during the period of a year that I was working there, was that the areas that we really wanted to go into…so many of those the train services had been cut, and there was no longer a service. So, that you could get into, into the more isolated areas of Eastern Kentucky.
WILLIHNGANZ: What areas did you go into?
WORKMAN: Our first - after we set up the exhibit, the first place we went to 8:00was Fulton, Kentucky- for the Banana Festival, and it was quite an experience. It was my first one, so everything had to be taken down and packed, and then it had to be… You had to call. They came and got it. You didn't know when they were going to get it, but they would take it and set it up things, like that. And then, after it arrived, then everything had to be unpacked and set back up as an exhibit. And all the PR stuff had to be done for the opening, and all like that. We got it set up. We got it moved. We got the exhibit set up, taken down, packed, got it moved, got it onto the track, got it set up. The people were getting ready to come in. And, we had a person come to us and say, 9:00"We are sorry sir, we have you on the wrong track." So, we repacked and put it…and got it all back together. Community people helped…repack on that, put it back together, and then moved it to another track, and that's were the first opening was.
WILLIHNGANZ: So, when you got set up, and what not…then you had your wheel set up; potters wheel, and had your leather work demonstrations going on, did you demonstrate each one of these things?
WORKMAN: I demonstrated, as well as also trying to get people in the community who could demonstrate. Like in particular, I would try and find out as much as I possibly could ahead of time, were there craft people there? And get them involved, and get them to come in. We generally were also open on, like a Thursday or a Friday, for school children. We had - schools would bring…because in many of the areas that we went into, there was not a museum, 10:00there was not a craft shop at that particular time. So, they would come in, classroom after classroom. Then on Saturday and Sunday, I would keep open, because that's when we would get the families in. And so, we get some of the older people that would be coming in…
WILLIHNGANZ: So, when you went into a town, how long were you typically there?
WORKMAN: From the time that the train arrived, until the time that the train left. You are talking about probably a week. But the…cause when it went in, then it would take a day to a day and half to get it hooked up with the water, electricity, with heat, and all like that. And then, you have to set the train up, and of course the cleaning, and going through all that. And then, you had then…you had to pre-schedule to have someone there that would be doing your 11:00pre-scheduling, to get the kids coming in on a basis, on like that, but the schools were very cooperative.
WILLIHNGANZ: So, you didn't actually do the logistic work for the set up?
WORKMAN: Not as far as for… It was the responsibility of the community. If they wanted to have the train there, it was their responsibility to help to sponsor and to set up the train on there. Now, not physically set it up, but they knew what the connections were. They knew how to get it on the radio. They knew how to get it in the newspaper. They knew how to get into the churches and all like that. They knew who to contact at the schools and all that. Not me; I was an outsider coming in.
WILLIHNGANZ: And you had water hooked up, and heat hooked up to the train? Did you have actual bathrooms on the train?
WORKMAN: Yes.
WILLIHNGANZ: And then the kids and the people would come through? Were you selling items?
WORKMAN: No. This was completely educational. It was for; it was funded by the state, so there was no selling items on that.
WILLIHNGANZ: What kind of response did you get from people who came through?
WORKMAN: Very good. They were… Every area that we went into, we were swamped; always swamped on there. Basically, many of the areas that we went into, there was not a whole lot to do. Like, we went into a little place like Irvine and Ravena, and opened up the train, and well "What is this?" So people… It was a curiosity to us too. "What is this thing these two cars that are connected together, and what's there?"
WILLIHNGANZ: I assume there was no admission charged to this?
WORKMAN: No admission.
WILLIHNGANZ: Did you get a lot of artists involved locally?
WORKMAN: It's according to how you define the word "a lot". We got artists involved, and the other thing that this led to, it led to having workshops where that we would get people from the outside of the area. Like for instance, Persus Grayson from the Southern Highland Handicraft Guild, came in and did a workshop at one of the schools that…where that we had, had the train there…Pineville. So, we did a number of workshops like this. That, so that it was an educational…It, it…One of our, our main purpose was education.
WILLIHNGANZ: Did you find that this appealed more to one particular group of 14:00people, or class of people? Were there mostly people who were pretty well off who came through it, or did the people who were dirt poor; just had nothing else to do, came in?
WORKMAN: I think a quilt, is a quilt, is a quilt. I think that the…it doesn't matter how much money you've got. If you got a handmade quilt, then, whether you're poor or whether you're rich, it's still a handmade quilt.
WILLIHNGANZ: Well. I wonder what the interest level was from different groups.
WORKMAN: It varied. It was it, yeah I don't… I couldn't say that there was one particu… Most of the time the people who sponsored us to come in, were the more sophisticated people; the people that were organized, that had a, had a, an organization that they belonged…the Women's club or whatever it might 15:00be, but people that came through was not like that.
WILLIHNGANZ: Did you get a sense that, that people who came through hadn't been involved with crafts, were now getting involved because, or were likely to get involved, because of what they saw?
WORKMAN: That would be something I would hope for. But, as to whether or not that happened or not, I don't know. Because this was their first experience you know.
WILLIHNGANZ: So, were there a lot of people who hadn't ever seen these types of crafts before you saw?
WORKMAN: We had two different…We had two or three different types of crafts. We had the traditional crafts where…that you had the baskets, the quilts, the hand made chairs, and things like that. Most of the older, middleclass, and the older- middle age and the older people had seen these things. Many of the 16:00younger people had seen them, but it was more like in somebody's closet. Or, it was one, a chair that was used on the porch or something or other. They had never seen anybody really get down and take a raw piece of wood, and actually shave it out, and hue it out, and work it out. But they never seen anybody actually get on a loom and weave a piece of cloth, even though there was a coverlet in their home, or in their granny's home.
WILLIHNGANZ: Did you return to the same places from time to time?
WORKMAN: No. Not necessarily. I returned with…what I was talking about…with the workshops and the follow up…with the people who were there, who were interested in the crafts and were interested in getting something done; 17:00working with the crafts on it. That also was the kind of time that where that the train was being moved from one position; one town to another town, that I would have time to do workshops or to facilitate workshops being set up to work with, such as like in Butterfly in Eastern Kentucky. We did a workshop on hooked rugs. And years later, probably fifteen years after that, a package arrived in the mail. And one of the ladies had mailed me the rug that she made in that class.
WILLIHNGANZ: Oh, that must have been wonderful for ya. Did…you said you go back for the classes. I assume that was not with the train, you just went on your own?
WORKMAN: No. I just got back to, to … Most of the time it was in a basement 18:00of a church, or it was in a one room school, or it was in some kind of… There were very, very few community centers, where that you could actually do things that.
WILLIHNGANZ: So, these were very rural areas you were going to? And did you conduct the classes yourself?
WORKMAN: Some of them, yes, and some of them I got somebody else in. And, a lot of time these people that would come…we would get them for…they would make charges for expenses, since it was a non profit organization - educational organization. They considered it as part of their responsibility to do that.
WILLIHNGANZ: The costs for the train were borne pretty much by the state, and the railroad, of course, who moved it around?
WILLIHNGANZ: They paid for the heat and the electricity and the operation?
WORKMAN: No. The heating, the heat and all that, that's where you contacted that city. And then the city -whoever that sponsoring organization was, they contacted the electrical person. They contacted the gas person. They contacted the water person, and basically it was a proposal to them. "Here is our opportunity to have this train to come in and in order for us to do this, then we need to provide these requirements for the train to come in."
WILLIHNGANZ: Was it a hard sell, was it difficult to get the…?
WORKMAN: I didn't sell any of it. It was a thing that was open and advertised. And then, if a town was interested, then they would contact me and they would say… So I didn't feel like it was something that I should be selling. I felt like it was something they should be buying.
WILLIHNGANZ: I take it you didn't have any trouble lining up bookings?
WORKMAN: No. No. No. Because the problem that we ran into was not… Many, many places that wanted to, but because as I said to you earlier, the train line had cut out so many of these lines going into the these small towns, we could not actually go into the areas that we really wanted to go into.
WILLIHNGANZ: Did you stay overnight in the train?
WORKMAN: Yes. There was an apartment there that had a bathroom, kitchen, and bedroom; like in end of it, very small, one person.
WILLIHNGANZ: So, you'd go out there and you would be gone four or five days?
WORKMAN: But most of the time, what happened was, that when I got out there, I was a guest of the community. Someone was having me over for dinner, and 21:00someone else was saying, "Well now, you need to stay with us. We would like for you to stay with us tonight". Then, we will holler about lunch tomorrow. So, it was you know, it was a very…it was a community supported thing.
WILLIHNGANZ: That's terrific, but it still must have been a stress on your family?
WORKMAN: Well yes, because when you… I was gone probably at least three days out of the week; and sometimes four. So I had small, small child at that time, but very understanding wife.
WILLIHNGANZ: Well, I guess you did. How long were you in that position?
WORKMAN: One year.
WILLIHNGANZ: And what was the title?
WORKMAN: I was the Director of the Train.
WILLIHNGANZ: Did you go through any specialized training in order to do this?
WORKMAN: No. I learned the hard way.
WILLIHNGANZ: Did you have pretty much your own leeway in terms of how you set up?
WORKMAN: Yes, yes, very much so.
WILLIHNGANZ: How would cites advertize that you were coming?
WORKMAN: Most of the smaller ones would be using their newspaper or radio. And then, if it was a, an organization that had a good rapport with churches and things like that, and schools and everything… But we had almost every community that we went into; we would have anywhere between…Well we would have… I would say probably 95% of the children in that school came through the train.
WILLIHNGANZ: Wow.
WORKMAN: So, if you are talking about a school of 400, then you are talking about, you know, over 300 children would come through the train. So it was, it always, it always had people coming through there.
WILLIHNGANZ: So, did the kids ask a lot of questions?
WORKMAN: Oh, yes. Oh, yeah. They were very, very interested. And, I also had a place of where that they could work with the clay, and could just use their hands with it.
WILLIHNGANZ: Oh, that's great. Did you let them take any of it?
WORKMAN: Oh, absolutely.
WILLIHNGANZ: That's wonderful. So who would pay for the materials, the clay and stuff that you used?
WORKMAN: We had a number of grants, from different uh, companies. Like the potters wheel was given to the uh…since we were a 501c3, that was given to the Guild. The loom was given to the Guild, and we had…on our board…we had people who raised funds, and things like that.
WILLIHNGANZ: Now, you were there for one year. How many years total did the train actually run?
WORKMAN: I am not sure. I don't really know. I think about five, but I am not sure.
WILLIHNGANZ: Yeah. The impression I've gotten is, that it was like five or seven years; something like that. Did you - after you quit being the director; did you stay involved with the Guild?
WORKMAN: Well, see. What happened the year that we pulled the train into Berea, at the very end…and then I worked with Richard Bellando, who was the Director of the Guild then, and we set up the second Fair. So basically, what I was doing…I was still working with the Guild, but I was working with the craftsman fair and setting it up.
WILLIHNGANZ: Okay, and then in the years after that, did you stay involved with the Guild?
WORKMAN: Oh, yeah. I was a volunteer for many years with the Guild…
WILLIHNGANZ: Did you serve on the board?
WILLIHNGANZ: What positions did you serve on the board?
WORKMAN: I don't remember. I just know that I was a member of the Guild, but I don't remember, I don't think, I had a position other than being a member.
WILLIHNGANZ: Well. You certainly were someone who was very knowledgeable about how the train worked, and what not, and you must have been on the board and very active during the time when it ceased working.
WORKMAN: Well at the time, at the time that the train was operating, there was a board of directors. And then I, as an employee of the board of the directors of the Guild, would be reporting monthly to them what was happening, what our plans were, and how things were moving along over there. So, I was an employee of that board.
WILLIHNGANZ: But, after you ceased being the director of the train, you're still active with the Guild, and it was during that time that train stopped 26:00functioning. Can you tell me a little bit about what happened there, or why that happened?
WORKMAN: Well the main reason why it happened… One of the reasons it happened is, because that the areas, as I said to you before, that where it needed to go, the tracks weren't there. The second thing was the funding on it. It had been through a number of different types of funding, and the funding just wasn't there for it.
WILLIHNGANZ: So, the State basically ceased funding for this project?
WORKMAN: That is correct. Yes.
WILLIHNGANZ: Was there a change in the Governor at that point?
WORKMAN: You know, I really don't know. I can't remember.
WILLIHNGANZ: Well. I have been trying to look at what this contributed historically to the state, and to awareness of craft work, and how it affected 27:00the state. It seems to have been an extremely positive and very well received program. It got a lot of backing initially, and then for a reasons that I have yet to be able to put my finger on, or find out out about, at some point support for it got withdrawn.
WORKMAN: That's our government.
WILLIHNGANZ: Well, yes. That certainly is our government. And you might ask, "Why does our government function like that?" Or, it would be an appropriate question. But that's what I am trying to look at in terms of what happened to make that transition.
WORKMAN: We had, and I don't know who, but we had a committee to come down from Ohio. And, they patterned a train after the Kentucky Guild operation. Now, I don't know whether it's still in operation or not, but it was… And 28:00the other thing we tried to do, that we could never get through because of a lot of different problems. We tried to go, to get it to go to other states, because we thought this would be a great thing to do. But, we ran into all kinds of problems, with the railroad and insurance, and all of those kinds of things that you run into when you start crossing the state lines.
WILLIHNGANZ: I understand that. When the train ceased operation, then did the Guild sort of shift its focus more toward the art fairs and classes they were doing?
WORKMAN: Well… at the particular time the craft fairs that…the one craft that they were having in May, was an extremely important thing, and that's 29:00basically where that the emphasis was on it. So, I would say yes, even though with the craft fairs, its still was an educational organization, it still had to go through meeting the requirements of a 501c3.
WILLIHNGANZ: And the craft fairs, of course, were at that time, they were two a year?
WORKMAN: One.
WILLIHNGANZ: There was just one.
WORKMAN: Only one in May.
WILLIHNGANZ: At one time did they switch to two a year?
WORKMAN: Oh, it's about six or eight years later.
WILLIHNGANZ: So, that would have been in '75 to '76.
WORKMAN: Well. I think probably we had change of directors, and I think that that's when I was no longer there, and I think that's when they started 30:00having two a year.
WILLIHNGANZ: This is when Richard left?
WILLIHNGANZ: Okay. So they started at that point having two a year. Were they doing classes at that time?
WORKMAN: Oh, yeah.
WILLIHNGANZ: And these were classes, primarily in basic marketing for crafts people, or what?
WORKMAN: Well, no. Because… Not necessarily, because there was a lot of different kinds of needs at that particular time, that the crafts people had on it, and so it may be a class in design, it may be in production, it may be in some particular item, but not necessarily just in marketing on there.
WILLIHNGANZ: So, were there classes in specific disciplines like leather work?
WORKMAN: Yes, there were.
WILLIHNGANZ: Was that a source of revenue for the Guild?
WORKMAN: I don't think so, not really significant.
WILLIHNGANZ: More break even.
WORKMAN: It was a…Yeah right, uh huh, or maybe even a supplement, because it may have been at that particular time that they were able to get a national endowment grant, or a Kentucky grant from an organization in order to do that.
WILLIHNGANZ: Did they make money from the craft fair?
WORKMAN: That's how that they supported the craft fair; the Craft Guild.
WILLIHNGANZ: You mean that they made enough money that they took in…
WORKMAN: From the admissions.
WILLIHNGANZ: From the admissions, and basically support the Guild and its work in various areas. At what point did you decide you basically didn't want to 32:00continue being a volunteer with the Guild, or are you still active with them?
WORKMAN: Uh, at what point? I don't really remember, because I had probably been with the Guild for about twenty-five years, and somewhere along there I got old and had children and grandchildren and other things.
WILLIHNGANZ: It just sort of dropped away for you, looking back on your experience with the train, are you really glad you did that or…?
WILLIHNGANZ: Did it mean a lot to you?
WILLIHNGANZ: What was it like for you?
WORKMAN: I think it… There was self-satisfaction that you get whenever you go 33:00out and you see people who could not afford, or did not have the means of going to a museum or going to an art show…and children who were coming in, and they were seeing…they were being able to see the works of art that they would not have been able to have done. It's that there is a sense of satisfaction there. It was not for the money but just -- of - you felt like that was a good day; things happened right.
WILLIHNGANZ: What is your relationship at this point with the Guild? Do you …
WORKMAN: Very little, no.
WILLIHNGANZ: Do you go to their art fairs once a year?
WORKMAN: Yes, most of the time I do. I was also…I am a member of the Southern Highland Handicraft Guild, and I was on the board of trustees of the Southern Highland Handicraft Guild.
WILLIHNGANZ: When was that?
WORKMAN: Twenty years ago.
WILLIHNGANZ: But, it was after you were the Director of the train, and after you were on the Board there.
WORKMAN: Yeah. Things are coming well together as to separating them out. It's kind of like a piece of fiber, you know, that the people get twisted in with the events, and they get twisted in with all kinds of things that happened.
WILLIHNGANZ: So. Do you think these guilds contributed significantly to the culture of the state?
WORKMAN: I think the main thing that the guilds did and do is, that they keep alive the tradition of the crafts. They keep things going on that…moving on that. I think it's become more and more difficult for guilds to operate, 35:00because, at one time the competition for the guilds was not there. They had a shop, a craft shop, and there were not very many craft shops in Kentucky. And so they, they were able to go ahead and contribute, and continue to contribute to keeping alive the history part of the Guild, the crafts out there. And, to encourage new craftsmen coming along; a new craftsmen graduates from college and he is out in the world, and most of the time his first thing is to go to a craft fair. So, and then that becomes his education. He learns what he should have done, what he should do, and were to go next, and makes contacts. Contacting I 36:00think was very, very important for a craftsmen.
WILLIHNGANZ: Now, you have known the Guild over a lot of years here obviously, and it's had ups and downs.
WORKMAN: That's true.
WILLIHNGANZ: Membership going up, and membership going down, and various financial and political crisis, and what not. Do you feel like it's still a viable contributing organization? Is it worth while and valuable?
WORKMAN: You asked about three questions there.
WILLIHNGANZ: Yeah. I probably did. Sorry.
WORKMAN: So, why don't you break that down?
WILLIHNGANZ: Well. I guess what I am getting at is, is the Guild an important organization today?
WORKMAN: I liked to answer it this way; guilds are very important today. Craft 37:00guilds are very important. They are important not just for marketing, but they are important also for the fellowship, the relationship that craftsmen have, for the kind of connections that they get because of the organization.
WILLIHNGANZ: Okay. How about the Kentucky Guild, is it important?
WORKMAN: Why, absolutely.
WILLIHNGANZ: I've heard various people who are concerned that it may not be with us much longer because it was sort of over the brink, and I have heard other people say it's always been on the brink, that's how we live. That's nothing new.
WORKMAN: Well. I don't really see myself as making a judgment about the 38:00Guild as much as I do about the train.
WILLIHNGANZ: Well. I am certainly glad that you had the history you did, and were able to share that with us. I do appreciate that. Are there any other comments or anything else you would like to add?
WORKMAN: The train was a jumping off point for me. I was in Eastern Kentucky, and I was teaching school. And, it gave me a place of where that I came to…Berea, and I was exposed to statewide…to the craft thing on that. After that, I started with an organization that I worked thirty-two years for, because of that.
WILLIHNGANZ: So the train actually gave you…
WORKMAN: A bridge.
WILLIHNGANZ: A bridge to …?
WORKMAN: Save the Children,
WILLIHNGANZ: Save the Children. That's interesting. I wouldn't necessarily connect those in my mind. How did that connection come about?
WORKMAN: I had quit the train. I had resigned and I got a call. And the director said, "I hear that you are unemployed at this point". And, I said, that's correct. He said, "Are you looking for a job?" And I said, "No. I am on vacation." He said, "Would you like to have dinner today?" "Oh, no." "Lunch tomorrow. Would you like to have lunch tomorrow?" I thought well, I better, since we only had probably about $180 in the bank, and so we had lunch, and the next day I started working for the Save the Children.
WILLIHNGANZ: Did he find out about you through the train?
WORKMAN: Well he, he had found out about…I started an organization that's called Appalachia Fireside Crafts, and there is the Appalachia Fireside Gallery here in Berea. I was the one who started that.
WILLIHNGANZ: I see. Well that's terrific. How long has that been going on?
WORKMAN: Oh, about thirty years.
WILLIHNGANZ: Wow. It must be wonderful to build something, and see it's still alive and function thirty years later. That's terrific. Most of us don't get that opportunity.
WORKMAN: Most of you are not as old as I am.
WILLIHNGANZ: Some of us are pretty darn close. Okay. I think that's all I needed for right now, unless there's anything else that you might like to comment on…
Workman: No, that's it.


text:
Q: Projection of a gradient and the gradient of a projection Hi,
I am trying to figure out if there are any functions, and then for which, where one can say that the gradient of the projection is the same as the projection of the gradient.
In this case a projection of the function f(x,y,z) is an integral $p(x,y) = \int f(x,y,z) dz$.
It seems to me that it might not be true in the general case. But are there any such functions?
Another way of looking at it is that I would like to know if there are an analogy to the projection-slice theorem, but for gradients.
I hope the question is correctly formulated, and my apologies if I missed out something very obvious. It does seem to me like this question should have popped up before and there should be some know result. I might have missed it in the textbook.
Helps and pointers appreciated.

A: I think you need to reformulate your problem.
The standard definition of a vector field being `projectible' [eg Warner.
See $\pi$-projectible ] requires, in the case of the projection $(x,y,z) \to (x,y)$
it to have the form $F_1 (x,y){{\partial} \over {\partial x}}  + F_2 (x,y){{\partial} \over {\partial y}} + F_3(x,y,z) {{\partial} \over {\partial z }}$.
For your ``projection'' to be finite, you need your $f(x,y,z)$ to depend on $z$
in such a way that the integral is finite.  As a consequence, its gradient will
have $F_1$ and $F_2$ either zero, or depending on $z$.
Combining your def. of `projection of a function' with the standard def. of
projection of a vector field you get the result that the only projected vector field
you can get is  the zero vector fields.

A: If you look in the index under either projectible'' or perhaps $\pi$-projectible' in
F. Warner's bookFoundations of Differentiable Manifolds and Lie Groups'' or many other differential geometry or topology books, I believe you will find a reference.
Here goes an answer though .   Say you have a vector field $X$
on manifold $M$  and a smooth onto map $F:M \to N$. How would you push $X$ forward to get a
vector field on $N$?  There is  only one real choice and that  is given  by the formula:
$$(F_* X)(y) = dF_x (X (x)),  y \in N$$
where  we take an $x$ with $F(x) = y$ and where  $dF_x: T_x M \to T_{F(x)} N$ is the differential of $F$ (Jacobian matrix, in coordinates) at that $x$.  But if $F$ is not  1-1, then there are many choices of $x$, and different choices give different results for $dF_x (X (x))$.  If the result is the same, independent of $x \in F^{-1}(y)$, for all $y \in N$ , then the vector field $X$ is called $F$-projectible''.
The simplest examples of $F$-projectible vector fields
arise when $F$ is the quotient map for some free Lie group action,
and the vector field $X$ is invariant under that group action.  In your case,
the group action is that of the real line by  translation in the $z$-direction.

redpajama_set_name: RedPajamaStackExchange


text:
BDO acquires tax consultancy Biegel Waller
16 January 2020 Consulting.us
Accounting and advisory firm BDO USA has announced the acquisition of Biegel Waller Tax Advisory Services and its 14 partners and professionals. The acquisition was finalized on January 1. Financial terms were not disclosed.
"The addition of Biegel Waller Tax Advisory strengthens BDO's presence in the Greater Washington, DC and Baltimore area," Wayne Berson, CEO of BDO USA, said. "Together, our clients will benefit from a broader and deeper bench of tax advisory resources. We can help clients evolve their tax strategies, understand their total tax obligations, leverage emerging technologies to improve operational efficiencies, and leverage their tax data to make more informed business decisions. I am pleased to welcome the Biegel Waller team to BDO."
Biegel Waller is a tax consultancy based in Columbia, Maryland. BDO plans to maintain Biegel Waller's physical headquarters, further strengthening its presence in the Washington, DC and Baltimore markets.
Biegel Waller specializes in international tax, state and local tax, tax compliance, and tax advisory services. It was founded in 1998 and works with Fortune 500 and clients in industries such as hospitality, hotel management, real estate, government contracting, IT, and sciences. It is a member of the Biegel Waller Group.
"Through the combination of Biegel Waller Tax Advisory Services and BDO, our clients will benefit from both firms' extensive tax advisory knowledge and holistic approach to strategic tax planning," Jim Waller, cofounder and partner at Biegel Waller Tax Advisory Services, said. "With BDO, we will have even more resources to anticipate and manage clients' challenges in a constantly evolving tax landscape.
BDO USA is the US member of the UK-based BDO International Limited. It offers assurance, tax, and advisory services to companies throughout the United States. It operates out of 60 offices and more than 700 independent alliance firm locations nationwide. Globally, BDO employs more than 88,000 people working out of approximately 1,800 offices in 167 countries. BDO USA ranked seventh on the "Accounting Today's" 2019 list of "Top 100 Firms." Last year, it reported $1.64 billion in annual revenue.
"Through this expansion, BDO continues to execute its targeted growth strategy, expanding its depth and breadth of offerings in key markets across the country," Allan D. Koltin, CEO of Koltin Consulting Group, who advised both firms on the merge. "Biegel Waller Tax Advisory Services and BDO share common cultural philosophies, including cultivating high-performing, engaged teams that provide exceptional client experiences."
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BDO USA expands Florida presence with MBAF acquisition BDO USA, a national mid-market accounting and consulting firm, has acquired MBAF, the largest Florida-based accounting and consulting firm.
Middle market CEOs see base pay reduction in 2020 Middle market CEOs and CFOs saw a reduction in base salary pay in the range of 20% to 50% in 2020, according to BDO USA's annual study of CEO and CFO compensation.
BDO acquires MorganFranklin Consulting's public sector practice BDO USA has acquired the public sector practice of MorganFranklin Consulting, based in Washington, DC.


This was back in June. I had never been to the north part of Lake Tahoe before so we decided to hike to Donner peak. There was a bit of water on the trail because the snow was melting down. As we got closer to the top, we found more snow up here. The trail was hard at the beginning because the path was narrow and rocky. It took 3 h for hiking. We didn't actually go to the top of the peak but we was very close and took a picture with Donner peak. It was very windy on the top.
This is a photo of Lake Mary.
I could see Donner lake as I was on the top.


Rand Curtiss wrote about the QMDM in a recent IBA blog post. If you currently use the QMDM, you will appreciate his insights into the expected holding period. He also suggests alternative ways to use the model to help support or give confidence in marketability discount indications from other methods.


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Avex Pictures, Funimation, Shueisha, Studio Pierrot
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Asta adalah seorang anak muda yang mempunyai mimpi menjadi seorang penyihir terhebat di kerajaan. Akan tetapi dia memiliki satu masalah, dia tidak bisa menggunakan sihir. Namun keberuntungan berpihak kepada dia karena mendapatkan Grimoire lima daun yang sangat langka "Black Clover" yang memberinya kekuatan anti-sihir. Walaupun Asta bisa menggunakan sihir, tapi dia tetap bertekad untuk menjadi Kaisar Sihir.
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Black Clover Jump Festa (2018)
An epic set in post-WWII Japan and centered on an American former G.I. who joins the yakuza.
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Ivan "Theo James" is a gifted and discerning art thief who wants out. Elyse "Emily Ratajkowski" is an aspiring actress …
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The Institute for Regional Studies at Rhodes College in Memphis Tennessee is an undergraduate program dedicated to furthering academic research on Memphis and the Mid-South region.
The Rhodes Institute is an innovative program that capitalizes on the liberal arts tradition of the College, the research expertise of its faculty, and its location in one of America's great cities. Over the course of the program, Institute fellows spend their first week together engaged in an intensive regional studies seminar; six weeks working on their own projects, interspersed with weekly group meetings and a final week presenting and discussing their research. At the completion of the program, all fellows submit research papers and reports on their work.
The Ames Plantation has had the honor of providing research material for a number of Institute students from Rhodes College. Each research topic is related to either the social or material cultural of the region during the 19th century. In most instances the research includes information relating to the 19th century history of the Ames land base. The quality performance of these students has added greatly to our understanding of the lives and times of Ames' 19th century residents.


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Jacques Champion (4 September 1934 – 21 August 1990) was a French racing cyclist. He rode in the 1959 Tour de France.

References

1934 births
1990 deaths
French male cyclists
Place of birth missing

redpajama_set_name: RedPajamaWikipedia


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The business said it was continuing to build momentum, with a record number of 15 new franchise store openings and an increase in average sales per store over the period. At the end of September Cake Box had 101 stores, with recent openings including Bletchley, Northampton and Derby.
Gross profit at the business rose 47% to £3.7m, with underlying EBITDA up 34% to £2.2m. Earnings had been partly boosted by an increase in gross margin from 43.4% to 44.3%.
"I am pleased to report a strong performance since our IPO on AIM in the summer. These results reflect the robust growth opportunity presented by our franchisee store roll-out strategy," said Cake Box non-executive chairman Neil Sachdev.
Growth in revenues and profits had been achieved despite the hot weather impacting high street footfall and like-for-like sales growth in many stores during the summer. Despite this, franchisees achieved 4.4% like-for-like sales growth, reported Cake Box.
Online sales, which are processed centrally through the group's website and fulfilled through the franchise estate, almost doubled year on year to £2m.
The business has a manufacturing site in Enfield, and is hoping to complete the acquisition of an additional warehouse and distribution centre in the north of England. Set to be operational in the first half of next year, this may also be fitted out with some sponge production capability to enable the business to reduce distribution costs and provide a back-up to the Enfield site.
Cake Box said its performance in the first eight weeks of the second half of its financial year had been encouraging, with the business opening four new stores.
"It's very exciting to be announcing our first set of results as a public company," said Cake Box chief executive Sukh Chamdal.


Are you looking for affordable whole life insurance in Lakefield, MN? We can help you compare the best options. Enter your zip code at the top of the page and browse through Minnesota whole life insurance providers. Comparing quotes is the most effective way to lower your whole insurance premium in Jackson county.
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You should look at Lakefield life insurance as early as possible as the cost will be much lower. This will also help at later stages of life when you will not have to budget out for the premiums as they will already be paid off. This money can also be borrowed against as it has already been built up into the policy. This is all the benefits of having a policy early and does not affect the price of the quote.
There are a few things you will want to consider when looking at various life insurance quotes in Lakefield, MN. We hope that this article will allow you to make the best decision when providing for your family after you are gone. It is the last act you can do that will allow them to live the life they have become accustomed to.
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Bristol Place Corporation is committed to providing quality residential and community-based support services for persons who have intellectual disabilities and/or mental illnesses since 1981. Each client is treated as an individual to enable that person to lead a self-fulfilling life. To ensure this, a person-centered planning model is used to develop plans for each client. Our staff assists and supports each individual in their effort to achieve the goals detailed in their person-centered plan.


Experienced and novice knitters alike are welcome to join the Knit Wits club at 4 p.m. at the River Park Branch Library, 2022 Mishawaka Ave., South Bend. Preregister at (574) 282-4635. Grand opening for The Bridge, a food pantry/free clothes closet, is from 5:30 to 7 p.m. at Studeo 315, 315 Lincoln Way W., Mishawaka. Hors d'oeuvres will be served. The Learning Cafe program at Southfield Village will be on long-term care insurance. Lunch (for $5) is at 11:30 a.m. and the program at noon. Southfield is just south of the corner of Miami and Kern roads, South Bend. Call (574) 231-1000 for reservations.


You'll be delighted, therefore, to know that we've pulled together an 11-piece guide for some of the top hair salons around the country which, most importantly, offer amazing bridal hair as one of their services.
Who To See: While the entire team is trained specifically to ensure that their wedding hair skills are on-point, owner Pauline Heap-Williams is also renowned for her bridal work!
Why we rate it: Pauline is also an expert make-up artist (#handy), and there's also another three expert make-up artist's within the salon too, meaning you can tackle two things at once with their very personal service (and we know how much you lovely brides-to-be like to multitask!).
Where: 37 North Street, Chichester, West Sussex.
Why we rate it: This is the place to take your bridal party! You'll get to enjoy the luxury of your very own 'Courtyard Salon' with optional catering arranged too! It's an amazing way to turn your wedding hair into an awesome experience for you and your bridesmaid squad.
Where: Located in the thriving district of Herne Hill and nestled at 22 Half Moon Lane, SE24 9HU, London, is boutique hairdressing salon 'Aitch SE24'.
Who to see: Ask for Alex, who is their expert in bridal hair!
Where: 45 Sycamore Road, Amersham, Buckinghamshire.
What you need to know: The salon also work with their own make up artist on request! So, yes, that's two check boxes you can tick on your wedmin list!
Where: 27 Hill Street, Wisbech, Cambridgeshire.
Why we rate it: This salon is situated in a charming four storey Georgian house, beautifully restored with two complete floors of beauty. Being a Clarins Gold salon, with a modern revamped hair floor as well, you'll have both great hair and beauty services on hand! Sign us up!
Who to see: Ask for Danielle to be your make-up artist and Stania for your hair!
Where: Two salon locations, Leamington Spa and Warwick, Warwickshire.
Why we rate it: It says it all in the name: get award-winning hair for your wedding day. Owner Nicola Smyth is also nominated in the British Hairdressing Awards as Midland Hairdresser Of The Year 2016.
Noted for: The salon has a string of accolades already for hair colour expertise, so if it's a colour job you're after give them a buzz!
Where: Located in the beautiful village of Redbourn, Hertfordshire.
What to love: The salon's bespoke bridal packages will make your experience easy to navigate and stress-free. With a dedicated makeup artist and hair stylist on hand, who are willing to work on location, this is a service perfect for the busy bride-to-be.
Where: West Essex salon group located in two beautiful locations (close to some key wedding venues), Theydon Bois and Chipping Ongar.
Contact: Theydon Bois: 01992 815700. Ongar: 01277 366775.
Where: Close to Edinburgh city centre, but nicely tucked away on Collinton Road.
What to love: Pretty much everything (if we're being honest)! From being noted for colour and cutting, the salon has a great array of stylists with expertise in bridal hair. So, what are you waiting for?
Where: Head to Rainham, Medway, East Kent.
Where: Wedding locations galore, by the sea at Chalkwell, Southend-on-Sea.
Why: Get ready to relax in the salon's peaceful, spacious environment. With lead stylist Matt Stark and his glam squad on hand, you'll instantly love their attention to detail and awesome hair skills.