text:
Farmers Expect Good Start to Africa's Main Cocoa Crop Season
Leanne de Bassompierre &
Baudelaire Mieu
7:25 PM IST, 31 Aug 2021 8:33 PM IST, 31 Aug 2021 7:25 PM IST, 31 Aug 2021 8:33 PM IST, 31 Aug 2021
(Bloomberg) -- Farmers in top cocoa growers Ivory Coast and Ghana are becoming increasingly confident of a good start to the main-crop harvest after favorable weather.
Downpours last week that followed previous showers point to good prospects for the first four months of the main harvest season that starts in October, said David Soffo, a farmer in Yakasi-Newtown in southwest Ghana. It's a similar situation in Ivory Coast, though growers said more rain is needed to ensure an equally good latter part of the main crop that runs through March.
Still, heavy rain in central Ivory Coast caused flooding and blocked access to some plantations in recent days. Affected farmers are waiting for the water to recede to assess how trees are faring, said Yao Konan, a grower in Kossou.
In other major West African producers, some farmers in Cameroon have taken advantage of mild rains to carry out fieldwork and market harvested beans. A mix of rain and sun has been good for trees in southeastern Nigeria, though black-pod disease has been reported in coastal areas. In the nation's southwest, recent rains brought some relief after a lengthy dry spell.
Most of West Africa's growing regions should see moisture levels increase this week, according to data from aWhere Inc., potentially further aiding harvest prospects. Cocoa futures have eased about 3% since touching a five-month high in London on Aug. 18.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;
using DataExplorer.Application.Core.Commands;
using DataExplorer.Application.Core.Events;
using DataExplorer.Application.Layouts.General.Events;
using DataExplorer.Application.Views;
using DataExplorer.Domain.Views.ScatterPlots;

namespace DataExplorer.Application.Layouts.Size.Commands
{
    public class SetLowerSizeCommandHandler
        : ICommandHandler<SetLowerSizeCommand>
    {
        private readonly IViewRepository _repository;
        private readonly IEventBus _eventBus;

        public SetLowerSizeCommandHandler(
            IViewRepository repository,
            IEventBus eventBus)
        {
            _repository = repository;
            _eventBus = eventBus;
        }

        public void Execute(SetLowerSizeCommand command)
        {
            var scatterPlot = _repository.Get<ScatterPlot>();

            var layout = scatterPlot.GetLayout();

            layout.LowerSize = command.Value;

            _eventBus.Raise(new LayoutChangedEvent());
        }
    }
}

redpajama_set_name: RedPajamaGithub


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Departments at UF are represented by a unique, eight–digit Department ID (or DeptID) in the myUFL systems. You can view a list of all UF departments by running the following report in myUFL: Enterprise Reporting > Shared Folders > 14800000 – IT – Enterprise Systems > UF Organization IDs.
Note: In order to run this report, you must have a role which provides acces to the Workforce Administration folder in Enterprise Reporting. Please contact your department security administrator (DSA) if you need such a role.


text:
Appeal after cyclist injured in collision in Cheltenham
A cyclist was injured in a collision in Cheltenham last night, Thursday 5 August, and police are appealing for witnesses.
At approximately 9.45pm on London Road at the junction with Keynsham Road there was a collision which involved a white Volkswagen Up and a blue mountain bike.
The cyclist, a 54-year-old man, was treated at the scene by paramedics for a head injury and then taken to Gloucestershire Royal Hospital by ambulance. Following assessments he is not believed to have suffered any serious injuries.
The driver of the Volkswagen Up was uninjured in the collision.
Closures were in place at the junction for around four hours while a forensic collision investigation took place.
Police would now like to hear from anyone who witnessed the incident or either the mountain bike or Volkswagen prior to the collision. Investigating officers are also keen to hear from anyone who has relevant dashcam footage.
Information can be provided to police online by completing the following form on the Constabulary's website, quoting incident 541 of 5 August: https://www.gloucestershire.police.uk/tua/tell-us-about/cor/tell-us-about-existing-case-report/ You can also call police on 101.

redpajama_set_name: RedPajamaCommonCrawl


The City of Toronto's Web 2.0 Summit explored how Web 2.0 technology can change the way governments interact with citizens, create policies and make decisions. Review the day by logging in. If you didn't attend, register and login.
Share ideas about how Web 2.0 and social media (such as wikis, blogs and social networking profiles) can increase civic engagement, reach all communities and improve City services.
Learn new ways for elected officials to engage communities on the services that affect their quality of life.
Help build the Web service strategy for Canada's largest city.
People from government, educational institutions, various organizations and businesses will converge at the City of Toronto Web 2.0 Summit for better communication, better government and better democracy.


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Hi Mark, thanks for the add :) Nice to meet you!
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text:
Former Olympic swimmer Katherine Starr starts Safe4Athletes to help fellow abuse victims
By Christian Red
Katherine Starr, former Olympic swimmer (pictured below), is hoping to help kids who have been sexually abused, as former Penn State assistant coach Jerry Sandusky (above) is accused of doing. (Andy Colwell/AP)
Katherine Starr was at a crossroads last April, professionally and personally, when she says she began brainstorming: as a previous victim of sexual abuse in sports, how could she help make a positive impact on addressing the issue?
This was months before the names Jerry Sandusky, Bernie Fine and other coaching/sports figures were strewn across the headlines, before the tidal wave of media coverage about horrific cases of alleged sexual abuse at Penn State, Syracuse and other iconic sports programs.
"I was barely coaching," says Starr, a former member of the British Olympic swimming team for the 1984 and '88 Summer Games. "But I had a strong sense that nothing had changed."
Starr, 44, was decades removed from her own traumatic experiences of being sexually abused, but the physical and psychological scars continued to exact a toll. She battled alcohol abuse - although she has been sober now for over 13 years; had a fractured relationship with her late father due to the dark secrets she kept to herself; to this day, Starr admits to having "commitment issues."
She ultimately changed her birth name, Annabelle Cripps, to Katherine Starr so she could "wake up in the morning and feel free."
When Sandusky was charged in November of over 50 counts of sexual abuse of at least 10 boys, and later when Fine's name and other sports figures were linked to abuse cases, Starr says she was engulfed by her painful past, a torrent of emotion swirling in her head. She says the feelings of sadness, anger and frustration motivated her to start the non-profit organization, Safe4Athletes, with a mission to become a major advocate for athletes' welfare.
"I needed to put my time into something more valuable. I asked myself, 'What do I want to do?' After seeing all of these reports about Sandusky, the other cases, I said, 'This needs to be addressed. Nobody is addressing this in sports," says Starr, who lives in Santa Monica, Calif. "I felt like I could bring my world of awareness to the table."
Born in Madison, Wis., to her British immigrant parents, Annabelle Cripps returned to England when she was 11 to follow her athletic dreams, which included trying "to become the next Sharron Davies," a reference to the British swimmer who was an Olympic medalist in the 1980 Moscow Games. Cripps began training under renowned coach Paul Hickson when she was a teenager, and says he began sexually abusing her almost immediately.
"I was the only girl with five other (male swimmers). What I found out, (Hickson) purposely kept me as the only girl," says Starr now. "I don't think I had the words to say, 'He was raping me.' Every time I resisted, he would retaliate, or he would punish me. I would tell him openly on the pool deck, 'Get away from me.' Nobody heard my cries, but people knew what was going on. That's the sad part. There are so many other athletes in the same situation with their coach."
Hickson, who was the British swimming coach at the 1988 Olympic Games in Seoul, was sentenced to 17 years in prison in 1995, after being convicted of 15 of 17 charges that stemmed from rape to indecent assault. Starr was not one of the 13 complaintants who came forward to accuse Hickson.
But Starr found little solace in seeing her longtime abuser behind bars. She abused alcohol into her early 30s. She was estranged from her father for years after her competitive swimming days, too fearful to reveal the real reason why she did everything possible to avoid training under Hickson. Starr toyed with writing a memoir as a catharsis, then suffered a near fatal automobile accident in 2005 while driving from her parents' Colorado home.
"I hit a sheet of black ice, rolled my car completely," says Starr. "People who attended to me at the accident scene said, 'You never should have survived.' There was another accident at the same site, involving a FedEx truck, and the driver died. It was like, 'Why not me?'
"That was the reason I changed my name," Starr continues. "It was too hard to be Annabelle. I couldn't be me anymore. There was so much hurt and pain."
When she hatched the idea for Safe4Athletes, the first thing Starr did was reach out to people she was confident would both see her vision, and who could provide valuable insight into how to launch such an endeavor.
Donna Lopiano, the former CEO of Women's Sports Foundation, and Nancy Hogshead-Makar, a former Olympic medalist in swimming and a law professor at Florida Coastal University, have been instrumental in shaping the business and legal framework for Safe4Athletes.
"Out of the clear blue, Katherine called me and said, 'Will you help me start a non-profit?'" says Lopiano, now the president of Sports Management Resources, a consulting firm. Lopiano was also the athletic director for women's sports at the University of Texas when Starr was a student/athlete there. "It's been fun working on a new advocacy project. And the timing couldn't be better. This is as large as the gender/equity issue. The NCAA is starting to address (sexual abuse) some, but the governing bodies (in sports) are not tackling this issue well. And in amateur sports, it's just scary."
Hogshead-Makar says that educating parents of athletes is a critical part of the policy for Safe4Athletes. But she says that an equally important step toward eradicating sexual abuse from sports is helping empower victims.
"We need to be sensitive to these people, and not perpetuate the 'blame the victim' theory because a team wants a coach," says Hogshead-Makar. "You have these coaches who are often talented, producing winners, but there's a troubled kid who doesn't feel he or she has anywhere safe to go."
Safe4Athletes is hoping to partner with national athletic governing bodies to sports organizations and local clubs, and among the many policy initiatives are: counseling for abuse victims, educational programs and recommendations on how to contact proper authorities to report abuse and initiate criminal investigations.
Jennifer Sey, a former gymnast who is a Safe4Athletes board of directors chair, says that in competitive athletics, "abusive behavior becomes normalized" in competitive athletics.
"Parents often brush suspicions under the rug because they want their kid to make the team," says Sey, who witnessed abuse of one of her gymnastic teammates at the hands of former Olympic coach Don Peters. "What's hard for people outside to understand is why the children participating are not able to stand up for themselves. But that world is incredibly skewed. Things that people outside would find unacceptable, become normalized. This foundation is about creating guidelines around appropriate behaviors. We don't have that in sport."
Starr says that Safe4Athletes is getting funding through donations and corporate relationships, and that volunteers will help spread the word from state to state, at all sports levels.
"I think our policies are thorough. There needs to be a social and cultural change among parents and athletes," says Starr. "What would it look like if I had to do that part of my life all over? Having a safe environment. This foundation gives me some sort of peace with my experience."


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https://www.manisteenews.com/briefs/article/Legislation-allows-for-new-Promise-Zones-for-14248122.php
Legislation allows for new Promise Zones for communities in need
MNA Staff
LANSING — Additional communities will have the opportunity to establish need-based scholarship programs for local students following designation as a Michigan Promise Zone under legislation signed Tuesday by Gov. Rick Snyder.
"This common-sense reform could provide Michigan students in financially distressed communities with the financial resources to pursue a college education," Snyder said. "This public-private partnership model not only helps students and families, it ultimately makes our communities economically stronger by attracting residents to those areas."
Senate Bills 539 and 540, sponsored by state Sens. Jim Ananich and Goeff Hansen, respectively, create a process to dissolve an existing Promise Zone, if necessary, while establishing a new zone in its place. The bills clarify that a dissolved zone would not count toward the limit of 10 zones allowed under existing law.
The bill also creates additional reporting requirements for current zones, including the number of students receiving financial aid, and the graduation rates of students.
The bills are now Public Acts 9 and 10 of 2016.
For more information on this and other legislation, visit www.legislature.mi.gov.
Area animal shelters adopt more, take in less during pandemic
11 new COVID-19 cases in Manistee County since Thursday


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PLANET SINGER: "Fightin' For" is a song you cannot miss!"
An awesome review of "FIGHTIN' FOR" just dropped from Planet Singer. Here's the 411:
"Fightin' For" is the third official release for the band. Captivating and inspiring, the song is proof of the artistic maturity of these talented artists, a song that shows how versatile and varied the band's sound can be. Danielle's bass lines, with their metronomic precision, supported by John's intense rhythmic engine on the drums, create a solid structure for the whole band to create incredible soundscapes that amaze the listeners from the first second to the last. Stamina and pathos construct the DNA of the song, where soulful guitar riffs and solo lines sustain Michael's outstanding performance behind the microphone.
Read Full Review Here: https://www.planetsinger.net/twofew-new-single-fightin-for/


text:
Legendary Kathak Dancer Pandit Birju Maharaj passes away
India's Kathak legend Pandit Birju Maharaj has left for heavenly abode.
Pandit Birju Maharaj was a descendant of the Maharaj family of Kathak dancers.
Panditji died at his home in Delhi late Sunday after suffering a heart attack. He was 83.
A recipient of the country's second-highest civilian award, Padma Vibhushan, he was fondly called Pandit-ji or Maharaj-ji by his disciples and legions of followers, and was one of India's best known artistes.
According to reports, Birju Maharaj was playing with his grandsons late on Sunday night when his health deteriorated and he became unconscious. He was taken to hospital where he was declared dead.
He was diagnosed with kidney disease a few days ago and had been on dialysis.
The Maharaj family of Kathak dancers includes Panditji's two uncles, Shambhu Maharaj and Lachhu Maharaj, and his father and guru, Acchan Maharaj.
Pandit Birju Maharaj was an expert drummer as well and marvelously played the Tabla and Naal. Panditji also gained mastery in singing and excelled in Thumri, Dadra, Bhajan and Ghazal.
Cineblues prays for eternal peace for the departed soul


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December 11, 2014 December 11, 2014 / .|k|.
summary: Liesel Meminger's brother passes away as her small family is on their way to Molching, to the family who will foster them, since their mother is unable to. One of the gravediggers loses a book, which Liesel picks up and hides away at her foster family's house. Rosa and Hans Humbermann are not rich, but they have hearts full of love for Liesel. Plagued by nightmares every night, Hans and Liesel start a tradition of staying up together in the wee hours of the morning. Liesel can't read and Hans left school in fourth grade, so together they use this scared time to learn or improve their reading. This sparks a love of books for Liesel and begins her career as a book thief.
personal thoughts: I loved Zusak's interesting use of pronouns. Nothing happened in the normal way. There was a beauty to his language that really engaged and moved me. Of course, any story set in this time period is going to have its tragedies, but the narrator death, was a new twist. I loved the feisty and innocent nature that Liesel still had, despite her life tragedies. She and Rudy's friendship was beautiful and I loved that pairing. I had seen the movie with my parents and thought it a beautiful story; it did the book justice, I think.


Around this time every year, a 'gyosho', a scroll on which semi-cursive Kanji characters are written, written by the eleventh generation tea master Shinan Soumei, hangs within the alcove of the training area of our school. When the season of the wind furnace reaches its peak in June or July, the outdoor area of joujuan is covered in greenery and the dew on the moss, shining in the sun, is magnificient.
When I look at this greenery, I feel a calm in my heart. However, to preserve this beauty, you have to do some daily care which involves cleaning the garden, watering and weeding.
You will agree that it is sometimes necessary to make an effort that might go unnoticed in order to keep something in a good condition. In this respect, nature teaches us many things.
One of the lessons that I learned from my training at the Zen temple Keitoku was sweeping, something I learned from nature.
Sweeping is not a simple job. Every morning after getting up, we began sweeping every day, the exact same places, for 365 days of the year but how we handled the brush and how we used water would change depending on the season.
In a Zen temple in the summer, the sun rises early, so we have to get up at half past four and in the winter an hour later. This is because we must get to work before the sun rises in the summer but in the winter we wait until after the sun rises.
In the summer, the sweeper spends most of his time weeding. This is a job that never ends, because weeds always grow back. When I was doing my training at the Zen temple, I was still young and one day I tried to uproot some weeds, leaving holes everywhere in the garden. My Zen master said to me, "This is useless. Weeds are like human desires, you will never be rid of them. Instead of trying to get rid of them altogether, think about how to deal with them when they appear. Don't try to remove them at their roots but instead remove them once they appear."
This is the same for dead leaves that fall in the late autumn. You can sweep all day but when the wind blows more leaves will fall and there is meaning in picking these up.
Even in tea ceremony, before serving tea, one must purify one's hands, mouth, and the tea utensils such as the bowls. While this has practical purpose, the purifying process and the focus one must have when doing it also effects the tea practitioner themselves.
Once, through practice, you come to understand what I have described above, you will gain an even deeper understanding of tea ceremony.


text:
Documented Fall 1976 Yves Saint Laurent Russian Collection Leather Coat w Sheared Sheepskin Trim
I Have A Question: Documented Fall 1976 Yves Saint Laurent Russian Collection Leather Coat w Sheared Sheepskin Trim
This is from the famous Russian collection from the Fall 1976 Collection and these are rare and hard to find. The now legendary 'Opéra Les Ballets Russes' Haute Couture collection by Yves Saint Laurent for that season was one that took the fashion world by storm and has been endlessly re-interpreted since. Stylist Catherine Baba has the twin of this coat and versions have been well documented. The Met has a fabric version in their collection and the suede version was photoed for Vogue that season. This was a key look of the season and highly collectible.
The coat is in exceptional condition and looks to have been worn very little if at all. The leather is soft supple and the color is a deep chocolate. The inner bodice has been lined in a sheared sheepskin that is very soft and fine and has been dyed to a deep chocolate color to match the leather. The sheared sheepskin is set to follow the front edges and goes all the way around the neck and down the front. There is also a a band of it set within each cuff. The lines of the coat are pure Yves from this time period. The neckline is cut high on the front to curve gracefully around the neck. The shoulders are set high with gathers so that they have a slight capped feel to them. Under the top portion of the coat the lower portion of the jacket is set into the waist seam and done like a proper skirt would be with slight gathers along the top so that it has some fullness. Inside the coat the upper bodice is lined with the sheared fur and the lower part of the skirt is lined in a quilted fabric. I love how all the edges are top stitched with a deep red thread, placed to emphasize the lines of the coat and add to its Russian feel. This wide panel of red top stitching runs all the way down the front, around the collar and finishes each cuff. Highly polished buttons close the coat down the front. It really transforms when on a real girl and is just wonderful. Amazing and rare piece of fashion history. Excellent condition.
The upper bodice and cuffs are lined in fur and the sleeves and skirting of the coat are lined in quilting. It closes with the buttons at the front. Tagged a vintage YSL 44
Bust: 19.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Reference Photos: (1) The Peasant Collection 1976 as photographed by American Vogue / (2) Coat from the MET / (3) Yves Saint Laurent Runway. / (4) Catherine Baba at the S/S 2017 Haute Couture Shows in Paris. (Top Photo by Nabile Quenum; Bottom Photo by Phil Oh)
SEE MORE FROM YVES SAINT LAURENT
Exquisite Fall 2000 Yves Saint Laurent Haute Couture Velvet Dress w Net Inset Panels
Important Spring 1993 Yves Saint Laurent Haute Couture One Shoulder Silk Crepe Dress
Important Fall 2001 Yves Saint Laurent Haute Couture 'Le Smoking' Wide Collar Tuxedo Suit
Important Fall 1982 Yves Saint Laurent Runway Leather Coat w Huge Sleeves & Buttons
I Have A Question: Exquisite Fall 2000 Yves Saint Laurent Haute Couture Velvet Dress w Net Inset Panels
This incredible dress is from the Fall 2000 Yves Saint Laurent Haute Couture collection and its twin walked the runway that season. The collection was lauded by the press. Marie Claire said 'Faithful to himself, Yves Saint Laurent has once again surpassed himself, without ever betraying the clean look that has become his signature.' The New York Times review by Cathryn Horn noted that the show was attended by ladies such as Nan Kempner who sat just a few chairs away from Catherine Deneuve and Lauren Bacall. Nan was seen in the audience saying 'fabulous' as the dresses paraded past. The Times review included remarks on all of the couture shows that season and said that the 'day belonged to Saint Laurent'. They also noted that "There have been a lot of Saint Laurent shows in recent years when nothing clicked and you thought, 'Okay, this is as good as it's going to get.' But the thing one realized the other day was how vast and deep are Mr. Saint Laurent's reserves of creativity compared with those of other, younger designers who blow themselves out early and then spend the next 10 or 15 years splashing around in the same puddle." This dress is exceptional and a rare piece from one of his final collections. That same NYT article also noted that during this time period, couture dresses had a start cost of $50,000 ($75k in modern dollars), and went up from there. This dress is sourced from the original couture client.
The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos that I have found for you. It is made from an inky black silk velvet with inset panels around the skirt. The sleeves are long and straight and the dress is cut to sit fully off the shoulders. This allows your entire upper shoulders to show. It skims over the body and the velvet lies over a fully built in inner corseting that gives support and keeps the dress perfectly in place. This inner corset is fully boned and closes with its own separate zipper. The dress skims over the body with vertical seaming all around for each panel that the dress is made up of. It is meant to sit so that your shoes show from under the skirt and this length also gives the skirt the best possible length to show off its fullness and the ingenious insets all around the skirt. Just below the hips he has inset panels that are made from knife pleated black silk netting. The are set in in such a way that each is very full. The result is that you get a stunning bit of volume through the lower skirts as these flare out around you and move when you move. They have a touch of transparency to them so you get a suggestion of leg showing as you walk. A wide silk satin ties at the waist for the perfect finish. Yves once said of the colour black "I love black because it affirms, designs, and styles. A woman in a black dress is a pencil stroke". The dress looks to have been unworn or worn very little and was sourced form the original couture client. Excellent condition
The outer velvet layer is fully interlined in a fine black silk satin. The built in corset is boned and shaped. It closes with its own zipper and has an inner waist stay that hooks to close. The exterior layer closes with a hand set zipper. Done with Haute Couture construction techniques. The silk ribbon belt is not original to the dress. It appears to have been unworn or worn very little
Inner bust: 17.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Length: approx 56" from natural shoulder to hem
Reference Photos: Fall 2000 Yves Saint Laurent Haute Couture Runway.
I Have A Question: Important Spring 1993 Yves Saint Laurent Haute Couture One Shoulder Silk Crepe Dress
The New York times said of this collection at the time; 'Yves Saint Laurent did it. With sophistication and authority in his collection for spring and summer, he gave validity to couture, the high end of the fashion industry. There was no desperate groping: this is the way the most expensive clothes in the world should look, he seemed to say. As the showings sailed into their final days, he re-established himself today as the king of couture." after their review of the day and suit looks they continued to say; "Preliminaries over, he was ready for evening dresses, the serious business of couture. His unerring eye for color came to the fore....One-color dresses were also effective, in fuchsia, bright blue or rose. Rarely did he resort to embroideries...His effect was achieved through line and cut." The review ended with this lovely sentiment; 'Saint Laurent knew his show was a success. "The couture lives," he whispered backstage after it was over. His mother, Lucienne Saint Laurent, told him he had never done better. He seemed to agree. It is rare for a designer to reinvent himself at the age of 56, the way Saint Laurent had just done. The show recalled his glory days in the 1970's, when he set the guidelines for couture and the rest of fashion. He has now done that for the spring of 1993."
On the runway this dress was shown in a darker, more subdued blue. The twin of the runway dress is held in the Met Museums' collection and I have included that reference photo for you here along with the runway shots. My client had the dress made in one of the brighter blues that was used elsewhere in the collection that year and I love it in this brighter bolder color. The dress is cut to leave one shoulder completely bare. Both sides have long slim sleeve and there is a panel of the same silk gathered along the top of the shoulder that then swoops down over the bodice and the back. That draped panel is very full and I love how it drapes over the sleeve on that side. The inner details here show is the genius of couture. The zipper on that side is set so that is softly curves under the arm and runs down the top of the inner sleeve. That way the person wearing the dress does not have an uncomfortable zipper pull right under their arm. It also keeps the sleeve perfectly in place despite the absence of a shoulder. The waist is seamed and detail by a matching, hand dyed silk satin slim belt. The skirt falls the the floor under that, gently widening out as it nears the hem. The side opposite to the bare shoulder has a very high slit so that you get a flash of leg as you walk. It is stunning and in person the colour is a touch richer and deeper then how it photoed. The silk also has a slight texture to it that adds detailing in person that the camera does not quite convey. This is a wonderful example of how strong his tailoring was in evening wear and an important piece fromm a collection hailed as a triumph. Excellent overall condition with a small note below
Fully lined in a fine blue silk. Done with Haute Couture construction techniques and closes with a hidden set side zipper under the arm that curves up and into the sleeve as described above. Inner waist stay hooks to close. The fabric is cut on the bias so there is some give. There is a slight fading along the top of the shoulder and down that same sleeve. Please see the two photos after the reference shot. It is light and because of the placement once on it is barely seen. The hem has been let down at some point. The belt is original to the dress and is in excellent condition
Hips: to 21" flat across from side seam to side seam
Bodice: 18.5" from top of bodice to waist
Reference Photos: (1-2) S/S 1993 Yves Saint Laurent Haute Couture Runway. / (3) S/S 1993 Yves Saint Laurent Haute Couture Dress from The MET Online Collection.
I Have A Question: Important Fall 2001 Yves Saint Laurent Haute Couture 'Le Smoking' Wide Collar Tuxedo Suit
The longer skirted version of this was presented as Look 38 of the Fall 2001 Haute Couture collection. For the runway it was shown with a full length evening skirt. My client ordered it with a more wearable pencil skirt length which gives it the added benefit of being able to be worn from day through to evening. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks He first presented the now famous suit in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'.
I love the extra wide collar on this one. It is so bold and yet still elegant and refined in feel. There is nothing quite like slipping on a tailored piece of true haute Couture. It feels different somehow and the feeling is something you can only really experience for yourself. The construction is meticulous and it is in wonderful condition. It is sourced from the original couture client. These suits were all done in a play on a men's tux and then were shaped and tweaked by Yves to be immensely flattering on the female body. The cut is masterful and its simple appearance is produced by genius tailoring that is sharp and meticulous. The jacket is tailored with a sleek cut that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. It has his signature matte satin tuxedo collar and on this one that line is exaggerated to cover almost the entire front of the bust area. Yves produced many versions of this suit over the years but what I find remarkable is that each version is distinct in how it closes at the front and the way that the collar is shaped. This one has a single faced, glossy jet button to close below that amazing collar. Two discreet pockets are top set on the hips and the shoulders are sharp and perfectly padded. The fabric that he chose is has a fine rubbing effect to it and it has enough weight that it holds the lines perfectly once it is on. The skirt is cut in a simple pencil shape. Once on, the suit transforms and you can see how beautiful the lines are from the runway photos and video that I have included here for reference. His suits change the way we approach woman's wear and any example of the Le Smoking version is particularly collectible. They are a particularly wonderful example of how strong his tailoring was and vision for a woman's place in the world. This is an important piece of fashion history from one of his final collections. Excellent condition
Both pieces are lined in a rich heavy black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist. Two pockets on the jacket. All hand finished to couture standards. It looks to have been worn very little if at all. All Haute Couture tags present and it was sourced from the original couture client
Length: 23" from neck to hem at the front, 22 at the back
Length: 23.5" from waist to hem
Modern Sizing Equivalent: MED-LRG
Reference Photos: Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.
I Have A Question: Important Fall 1982 Yves Saint Laurent Runway Leather Coat w Huge Sleeves & Buttons
A version of this coat walked the runway for the Fall 1982 Haute Couture show and the cloth version was photoed for Vogue Italia that season. Most importantly, a photo of Catherine Deneuve was taken in a version of the coat allowing us to see just how wearable the coat is despite its avant grade and bold lines. The dramatic and huge sleeve detailing was an important element for that season. This is a rare and collectible piece.
A version of this piece walked the Haute Couture runway that season and that combined with the other documentation on it are able to give you an idea of how spectacular the coat is in person. It is made out of a soft, supple leather that has been dyed to a deep brown. The bodice of the coat is meant to follow the lines of the body and then curve down into a slightly dropped waist seam. He has treated the lower portion of the coat like a true skirt and it is set into the seam of the waist in soft gathers. This helps to give it the fullness that you see in the photos. Pockets sit on each side of the hip. The collar is high and neat. It sits above a dramatic double row of polished hand carved wood buttons. They are large and sit in a double row of six buttons that down the front to just past the waist seam. These same buttons are then used on each sleeve. The sleeves are incredible and at the time were probably startling to see on the runway with their excessive fullness. They still feel dramatic even now. Each is cut on a rounded curve that starts at the shoulder and curves down the arm to the cuff. They are very full and wide. Six of the polished and hand carved wood buttons are hand set down the extended cuff whose overlapped edging goes right up to the elbow. Those sleeve and how they are cut are really a testament to his genius. Each button is fully functional which shows you just how much care and detail was put into the piece. Despite it being leather, the coat has been made with the same care as if it was fabric, which would have been a very innovative approach to leather for this time period. It is absolutely stunning and very rare. Excellent condition with a small note below.
Fully lined and closes at the front with the buttons as seen. All the buttons, including the ones on each sleeve are functional. Pockets on each hip. There is some minor discolouration on the inner lining. The fabric used for it tends to change colour over time so it is a natural progression of aging. One small and minor scuff to the leather next to the collar on the upper shoulder. Please see the photo after the label shot
Slightly inset shoulders: 14"
Bust: 18" flat across from side seam to side seam
Reference Photos: (1-2) Yves Saint Laurent F/W 1982 Runway. / (3) F/W 1982 Yves Saint Laurent Runway in the book "Yves Saint Laurent Haute Couture Catwalk". / (4) Outfits by Yves Saint Laurent, Vogue Italia, September 1981. / (5) Catherine Deneuve
SEE MORE FROM THE 1970S
Museum Held 1975 Hubert de Givenchy Haute Couture One Shoulder Silk Dress w Matching Cape
1970s Lillie Rubin Pink Densely Sequin & Bead Graphic Pattern One Shoulder Dress
Rare 1973 Bill Gibb Museum Documented Metallic Green Lurex Skirt Top and Jacket Set
I Have A Question: Museum Held 1975 Hubert de Givenchy Haute Couture One Shoulder Silk Dress w Matching Cape
The twin of this dress is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two samples of this dress in existence. True Haute Couture pieces were never produced in any significant quantities. The dress is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. This is a wonderful and well documented piece showcasing Givenchy's work during this time period. I have included the dress that the MET has in the final shot here for your reference
The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft pleats that run from the shoulder to the waist. These are set on a curving angle to follow the cut of the neckline as it works it way up towards the shoulder. The draping and soft pleat technique adds a beautiful detailing to the bodice of the dress. The waist is defined by a slim gold leather cord that wraps and ties to add shape. The skirt falls below this to the floor gently widening out a touch as it nears the hem. A second panel of fabric is draped over the skirt and set so that it angles softly down one side mirroring the angle of the shoulder. Slipping over this is a short cape that is made from the same fabric. It is cut on an angle to point down the front and the back and gives the dress a beautiful flowing feel. The colour is richer and deeper in person and on an actual body the entire dress really comes to life. Excellent condition with a few small notes below to review.
The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over the zipper. The bodice is lightly boned and there are small bust pads that are handset inside the bodice. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make all of them negligible. Please see the two images after the label shots. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. Haute Couture tape label #55417
Bodice: 15" from top of shoulder strap to waist
39" from neck to longest point of hem
Reference Photo: 1973 Givenchy Evening Dress from The MET Collection.
lillie ruben
lillie rubin
I Have A Question: 1970s Lillie Rubin Pink Densely Sequin & Bead Graphic Pattern One Shoulder Dress
The cut of this dress is a very flattering one shoulder silhouette. The base fabric is a light silk that is cut on the bias so that the dress drapes and molds over you to skim and highlight your curves without having a super tight fit. This makes the dress extremely comfortable to wear. The one side curves up and over the shoulder where it hooks into place with a trio of hooks & eye. From there it curves gracefully across the back. The dress falls to the floor with a high slit running up one side so that when you move you get a flash of leg. The sequins are set flat and side by side onto the fabric in long vertical rows. They are an iridescent pink and catch the light at the slightest movement. Worked into the sequins are little graphic triangles that run in a line down the full length of both sides of the dress. The hem and neckline are edged in a band of silver tube beads. Each of the triangles are also edged in a double row of those same silver tube beads and the interior of each triangle has a pinky-coral glitter fused directly onto the silk. The glitter parts are actually multi-coloured and this creates a touch of a holographic feel to them. It looks to have been worn very little if at all. Excellent condition
Fully lined in a pink silk. It closes with a metal and nylon side zipper. It is tagged a vintage 8. It looks to have been worn very little if at all.
Length: 57.5" from top of shoulder to hem
I Have A Question: Rare 1973 Bill Gibb Museum Documented Metallic Green Lurex Skirt Top and Jacket Set
A version of this set is held by the Liverpool Museum and was a key piece in the exhibit at the Walker Art Gallery Collection for the Fashion Icons: Celebrating Gay Designers exhibit. The show notes for their piece stated; 'Bill Gibb was born in Scotland and moved to London to study fashion design at St Martin's School of Art. Between 1969 and 1972 he worked as a freelance designer for the fashion house of Baccarat before launching his own company. This evening dress, with its petal-shaped hemline, and glowing jewel-like colours, is typical of much of Gibb's work in the early 1970s. In particular, his use of an exotic pattern and a metallic Lurex thread in the fabric shows how he was often influenced by rich historic fabrics and non-Western cultures.'
Gibb was one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This set is a wonderful example of the kind of work he was doing during this time period. His use of these metallic lurex fabrics helped to add a fantastical twist to the story he was trying to tell through his clothing. This set has all four original pieces to it. There is a skirt, a sleeveless tank that buttons at the front, the most fabulous jacket and a matching belt. The skirt is cut to midi length and is made of a series of flat knife cut pleats that fall from a more fitted hip. The choice of the lightweight lurex lets it have a ton of movement when you move and the pleats swish around you when you walk. The sleeveless top tucks into that. It is made in the traditional tailoring manner with a panel of lining fabric attached all the way around the bottom. This is something you normally see in couture pieces. This additional panel of fabric is made so that when you tuck it into the skirt you are not adding any bulk or lines around the hip area. The top buttons down the front and closes with holographic faceted buttons. Topping these two pieces is the jacket. It is cut with high capped shoulders and has an over-sized dog eared collar. It cinches in at the waist by seaming and flares out below that to past the hip. There are big curved pockets on each hip and the same buttons close the jacket that are on the top. It almost has a slouchy cardigan feel to it. The set comes with its original belt that has an unusual finish of a flexible holograph strip on the front of it. This strip picks up on the buttons of the jacket and top. I have shown the belt over the skirt and top, and then also around the jacket, since it works either way. The colour in the lurex is a fabulous mix of a soft green with other colours running through. The heavy dose of glitter running over the lurex softens the fabrics and gives it a fairy tale quality. I love the nod to the forties that the set has and the fabric is truly incredible. This is a rare set from one of my personal favourite designers. It appears to have been worn very little if at all. Excellent condition.
The skirt is lined through the hips and then where the pleats start it is unlined. It closes with a side zipper. The top is unlined and buttons to close with of lining around the lower half that you tuck into the skirt. The jacket is lined in a green silk satin and buttons to close. Two buttons on each cuff. Pockets on each hip of the jacket. Original tie belt. It appears to have been worn very little if at all.
Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 18-18.5" flat across from side seam to side seam
Waist: 14.5-16.5" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Bust: 16.5-17.5" flat across from side seam to side seam
Length: 21" from shoulder strap to hem
Hips: 18.5" flat across from side seam to side seam
Reference Photos: (1) Evening dress, Bill Gibb, 1973 from the Walker Art Gallery Collection, Fashion Icons: Celebrating Gay Designers" exhibit / (2) Evening dress, cellulose acetate, nylon and lurex, Bill Gibb, 1973, Liverpool Museum Archives. / (3) Charlotte Rampling wearing Bill Gibb for Harpers & Queen, February 1973. Photo by Barry McKinley.
james galanos
1970s James Galanos Couture Textured Puff Silk One Shoulder Dress w Transparent Lace Inset
I Have A Question: 1970s James Galanos Couture Textured Puff Silk One Shoulder Dress w Transparent Lace Inset
In 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear was made to almost that of true couture and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers.
Here we have a piece that dates to the late 1970s or early 1980s. It is absolutely gorgeous and as good as it looks in the photos, know that it is even better in person. The texture and quality of the fabric should be seen and felt not just viewed on the screen. The skirt is remarkable. It is cut to be one long and lean line. It has a high 19" side slit that allows for a good amount of leg to show and for you to be able to walk with that curved and fitted cut. The fabric is very unusual. It it is a black silk jersey that is a puffed 3 dimensional quality to it created by hand stitching the pattern into the fabric. This adds incredible texture to the dress and is in direct contrast to the more restrained manner that the bodice has been pleat stitched. For the bodice the fabric has been seamed with teeny little pleats that are all set on a curve. These are then hand gathered and ruched over the inner corseting so that the fabric curves around you. Set into the silk of the bodice is a curved panel of black lace. This is set in and not backed with any lining so that it is transparent and allows your skin to peek through. This curved bit of sensual lace begins just off the centre and between the breasts, curves under and then runs half way down the back on a beautiful sloping curve to expose a sliver of the waist and hip. It gives the dress just the slightest touch of a scandalous feel. Two skinny straps extend out from either side of the lace at the top and curve up and over the shoulder on a curving angle. It is insanely sexy. Exquisite to the last detail. It appears to have been worn very little it at all. Excellent condition
Fully lined in a black and metallic stretch silk jersey through the bodice and it is lightly boned and formed. The fabric of the skirt is self-lined and the interior seams ribbon and piped finished. It closes with a side zipper. All hand work inside.
Length: 59" from top of straps to hem


As of Monday March 18, motorists are able to use all 4 new lanes between junction 16 (Crewe) and junction 17 (Sandbach) at 60mph, northbound and southbound.
For safety reasons, a temporary 60mph speed limit will remain in place between junctions 16 and 17 until the technology work is completed.
The national speed and variable speed limits will come into force in line with overall project completion one week's time.
When the smart motorway is fully complete, motorists will feel the benefit of improved and reliable journeys even more. Traffic sensors will automatically monitor the flow of traffic and adjust the speed limit, accordingly, tackling the stop/start conditions and tailbacks caused by sudden braking. New CCTV cameras will provide 100% coverage of the route and allow Highways England's traffic officers and the emergency services to respond quickly to incidents.


The canadianCUBING Classic was held yesterday at the Ontario Science Centre in Toronto. The event was a great success, with many amazing times set, personal records, National and North American records broken, as well. I have submitted the official results to the WCA, but I believe Ron is in Germany so I am not sure when they will be posted. You will be able to find them here when they are up.
As usual, many thanks go to all the volunteers that donated all their time and efforts to making this competition run smoothly. We had a lot of competitors this time, and we were not too far off the schedule after all was said and done. Special thanks to the Moseley family, the Chan family, the Walter family, the Mativo family, the Ontario Science Centre, and Jai Gambhir for single handedly scrambling about half of all the cubes that day, he was a machine.
We had some media attention yesterday, to see a brief video of the event by the Toronto Sun, click here. Discuss the competition here.
I will do a full report again in the coming weeks; we took pictures this time so I have to wade through them. Congratulations to all the winners, and to everyone that came out to make this competition a memorable event. Keep practicing, and keep checking this site to see when the next competition will be held. But don't be surprised if we have another one this summer.


The Meadow House is a 1920s farmhouse completely renovated in 1998.
kitchen, dining area, living room and woodstove corner with rocker.
in operation—in various configurations—for over one hundred years.
perfect getaway for couples, families or group gatherings.
Townsend: great restaurants, markets,shopping, parks and events.
$20 per dog per night.  Maximum 2 dogs per cabin.


Last week I was driving through North Carolina headed home from a conference when I looked to the temperature. On February 7 it was 81 degrees! Only two weeks earlier we had seen temperatures as low as 10 degrees here in the Tri-Cities. Talk about going from sublime to ridiculous! We are accustomed to the changing weather of March and April, but this is January and February. What is going on? Some would tell us it is climate change. Others would say it is only the typical variance that occurs every so many years. I guess it depends on which theories one advocates.
What theories do you advocate when you think about human failure? For some, failure is permanent. Once a person has failed, that person is a failure forever. It strikes me that Jesus had quite a different view. He didn't see failure as permanent, did he? He saw it as a chance to improve, to do better in the sight of man and God. This Sunday we will think together about how we can "Overcome Failure." Just remember you won't be alone. In fact, Jesus believed that every one of us has "sinned and fallen short of the kingdom of God." So let's gather as a bunch of forgiven sinners on Sunday to see how we might overcome failure together. My guess is the spirit of Jesus just might show up!


text:
Lee Min Ki and Nana Share Their Thoughts On Their Upcoming K-Drama "Oh My Ladylord"
We can't wait to see what this K-Drama will bring!
Oh My Ladylord's Nana and Lee Min Ki came together for a pictorial and interview with Dazed Korea! Lee Min Ki plays the thriller drama writer Han Bi Soo, who chooses not to date, and Nana plays a rom-com actress, Oh Joo In, who is unable to date.
In their interview, Lee Min Ki shared that his lines were fascinating since a real drama writer wrote his lines to perform as his writer character. He explained that it makes him wonder, "Do writers really have these thoughts?"
On Nana's character, Nana commented that Oh Joo In has two personalities. One is a glamorous, famous actress, and the other is an every day, easy-going girl.
I find new charms to acting the more I do it. How could I get sick of it when it lets me experience so many different settings and incidents that I wouldn't be able to in real life?
When asked if there's a certain role that he'd like to play in the future, Lee Min Ki said that he wanted to play a character where his real self would be hidden. He explained that he wanted to fully immerse himself in a role that is completely different from himself.
Nana debuted as an idol all the way back in 2009 as a member of the girl group After School and later the sub-unit, Orange Caramel. She has since gone on to make a successful acting career for herself, as many idols are doing lately. The interviewer said it's common for singers to drop their stage names and use their real names when acting, but Nana didn't.
I've received a lot of love under the name of Nana, and a lot of good things have happened to me while I've used that name. I'm where I am now thanks to that. I said in an interview several years ago, 'I like 'Nana' more than my real name.' I still feel that way.
Their full interview can be found in Dazed's spring edition!
Lee Min Ki also released an interview for the K-Drama on the same day. He explained why he took a somewhat tsundere role.
First of all, I liked how the K-Drama is bright, and that my character is comical. I haven't chosen such a pleasant genre in a while, but I wanted to approach viewers with a comfortable, bright, and easy project.
—Lee Min Ki
Finally, when asked to describe Han Bi Soo in one word, Lee Min Ki said he couldn't. He shared that Bi Soo is the type of person who changes depending on the situation, so it's difficult to describe him in one word.
Oh My Ladylord will premiere on March 24!
Source: Dazed Korea and iMBC


On Tuesday I went in for the NT scan. I had just listened to the baby's heartbeat the day before so I was pretty sure we'd see a wiggly baby, but I was having lots of thoughts about seeing a very thick nuchal fold. Much to my delight, the fold measured a mere 1.3mm and that nasal bone was definitely present. Also present were brains which was very good news indeed. The ultrasound tech suggested we remind our baby of that when he or she is acting like a brainless teenager.
It was wonderful to see the baby again and wonderful to have nothing obviously wrong show up on the ultrasound. The tech, knowing my history, even kindly pointed out that the placenta was attached at the back of my uterus and that she couldn't see any bleeds anywhere, and definitely not behind the placenta.
And so, for right now I am feeling quite good about this pregnancy. Yes, I'm still nervous, specially now that I'm in my 12th week which is when everything started to go wrong when I was pregnant with Trey, but I have a good feeling that things are going to work out the way they should for every expectant mother. I feel like I'm in a really good groove right now with summer starting, at least a little bit of my energy coming back, and with more hope than trepidation regarding the future.
So, fingers crossed that the next 26 weeks are uneventful ones.


text:
Sacred Place United Church
Build With Friends
Pastor Matthew
I was a little bit anxious stepping into my first call as a pastor. This was a big deal. After months of meeting with the search committee and then preaching a sermon for the whole congregation, I was called to be the settled, full-time pastor of San Dimas Community Church United Church of Christ. This was an historic moment for the people of San Dimas Community Church as I was the first settled minister from the LGBT+ community. This was a bit step for a which which had voted to become open and affirming of the LGBT+ community only two years before.
Soon upon my arrival in February of 2016, people began to speak to me frequently about growing the church. Like many mainline protestant congregations, the glory days of the 1950s and 60s were long gone. They faced a visible decline in attendance and, subsequently, in giving which invoked fear in many of the members. I was hired as the young pastor to bring in the missing young people of the community which, unsurprisingly, didn't exist in vast numbers. The community around them had changed and was growing older and more settled.
I think the congregation understood that growth in the 21st century would mean that some things would have to change, and many people wanted that kind of change. However, with an aging building, the aforementioned decreased in giving, and dwindling financial reserves, time was running out. The congregation had largely spent the last decade or so looking inward to heal from past trauma as a community, taking care of one another, and being a family which they loved. It was time to look outward again, but how?
Most people in the community knew where the build was, but had zero knowledge about the people inside and what they did. To make a three-and-a-half-year story short, we tried very hard to reach outside of our walls, but found that the reason the church was originally found—to be the church for everyone in a time 100 years before where there was no critical mass of any single denomination to form a church in a small citrus town—was a mission which no longer served the needs of the community. It had been fulfilled. So we made a bold decision to name that original mission as complete and to answer the call to take our message that God's love is for EVERYONE without exclusion or exception to a new community where that kind of message was needed. So, in June of 2019 after 107 years in San Dimas, we sold the building and followed the Holy Spirit on a new mission.
This past Sunday was World Communion Sunday, the annual tradition of remembering that it is the table of Christ which unites us. In the retelling of the Last Supper from 1 Corinthians 11, we are reminded of the words of institution when Jesus speaks of his pending sacrifice. These words we say during communion are how we celebrate the time of remembering when Jesus gathered with is friends, his disciples, for the very last time. At Sacred Place, we believe that God's table is open to everyone, regardless of background or belief. God's love knows know boundaries, so why should our hospitality?
I've been reading the book Get Together by the folks over at People & Company. They have a podcast in conjunction with the book which is fascinating podcast and deepens the stories around building communities shared in the book. The very first chapter of the book reminds us that when we are creating community, we don't build our communities for people. I think that's the patter many churches fall into over time. It's true of our former church in San Dimas. If we want to truly build a sustainable, thriving community, we have to build it with people, those with whom we want to do this thing called life. That's exactly the work which Jesus did. We see it in the last supper when he gathered with those whom he called friends. He built this movement with those whom he loved. After he was gone, they were the ones to carry on the message and grow the Christian movement into commutes which spread through the Roman Empire and beyond.
As we follow where God is taking us—to create sacred places in Rancho Cucamonga—we must remind ourselves that we do so not to create a place for others simply expecting them show up. Instead we create our Sacred Place with those who want to build a different kind of Church—a church which welcomes those who have been told they don't belong in other churches because of who they love, who their friends love, or they think God's love is for. Our mission to create a just world where ALL are included in the family of God begins with one sacred place; a sacred place where we are trying to do things differently. A sacred place where we make room for people to find family and healing.
In our current political climate it's easy to focus on the things which separate us from one another. The very idea of creating an inclusive Christian community is, unfortunately, inherently counter-cultural—not unlike what the early Christians faced. No one ever said it would be easy, yet it remains our calling. May we follow the Spirit of God faithfully, building a Sacred Place with those who need it most.
If you want to help us build that Sacred Place, you can join us in person on Sunday mornings, or connect with us online. Details are here on our website or @yoursacedplace on Twitter, Facebook, or Instagram.
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We are leading manufacturers of anti-malaria products. Our portfolio offers a huge product range of anti-malarial products. We offer new age and time tested anti malarial products for treatment of all kind of malaria.
New Generation, Effective Anti-malarial medicine for children.
We are the leading and prominent Manufacturer and Supplier of Artemether-Lumefantrine Tablets 20 120 mg.
We are the leading and prominent Manufacturer and Supplier of Artemether-Lumefantrine Tablets 40 240 mg.
Artemether oral suspension in an antimalarial drug manufactured and used for the treatment of all kinds of malaria.
Artemether and lumefantrine are anti-malaria medications that interfere with the growth of parasites in the red blood cells of the human body.


Financial statements are a set of formal financial reports prepared from accounting records of the practice. The format of financial statements is somewhat standardized to assist you in understanding the information presented and to render this information useful.
Highest level of assurance needed for public companies –many not-for-profit organizations and large corporations.
Professional practices are not required to be audited by any government body or legislation.
Lower level of assurance than an audit, financial statements are prepared from client records but are subject to some analysis and enquiry.
Usually required by lenders and prospective investors.
Financial statements have been compiled from information supplied by the client, with minimal analysis.
Fees are commensurate with the degree of work performed and your accountant will generally recommend the most cost-effective engagement.
A balance sheet is a statement, at a particular point in time, of the financial position of your practice. It includes figures for the current fiscal year and comparatives for the previous fiscal year.
Practice Equity is the practitioner's financial interest in its assets. When a practice is first established, the amount of your own funds contributed to the set-up and fixturing of the office is regarded as the equity or net worth. When the practice develops and becomes profitable you begin the process of building practice equity. As you draw cash out of the practice, the practice equity will decline.
Also known as the "income statement," a statement of income and expenses summarizes the revenues earned and expenditures made for a stated period of time. The statement of income and expenses generally covers a full fiscal year and shows comparative figures for the previous fiscal year.
Professional fees billed: For accounting purposes, fees are recorded as income when they are billed, irrespective of when they are collected. Amounts not yet collected at the year end are shown in the balance sheet as "account receivable".
Investment income: This category includes interest dividends and capital gains earned on investments.
This statement shows the change in the cash position of the practice over the year.
Notes to financial statements are standardized disclosure requirements and are meant to provide additional useful information to users of the statements. These notes are placed at the back of the statements so as not to obscure the actual figures reported. Financial statements, when used in conjunction with other financial reports (such as cash flow projections), will help you make informed decisions about your practice.
The data used to compile financial statements is taken from the "books of account" for the practice. The data must be accurate, current and easy-to-read.
How can financial statements help your practice?
Your accountant can assist with your understanding of practice financial statements. If you wish to keep a close watch on practice financial operations, have your bookkeeper prepare these reports on a regular monthly basis (this is easy if you are using an accounting software package). Forward this information to your accountant and discuss it together.
Collection of accounts receivable: Compare the level of accounts receivable to fees billed. If accounts receivable is growing at a faster rate than fees, perhaps collection efforts should be reviewed and improved.
Levels of expenses: Compare the level of supplies, various fees and staff wages as fees billed.
How do these compare to industry averages (ask your accountant for more information)?
Level of repairs and maintenance expenses: Review office procedures for regular maintenance of equipment and facilities.
Income tax payable: The practice's financial statement does not show any income taxes. Rather, the net income shown in the statements will be reported in your personal income tax return. While this figure alone will not determine total tax liability, changes from one year to the next can help you estimate this amount.


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Direct flights to Tapachula (TAP)
Tapachula International Airport - Airport code: TAP
Home	› Airports	› Mexico	› TAP Tapachula
Non-stop flights to Tapachula (TAP)
Did you mean flights from Tapachula?
Tapachula International Airport is a small airport in Mexico. It is a domestic airport. Currently, there are 3 domestic flights to Tapachula.
Tapachula is mainly known for sightseeing & culture.
All direct flights to Tapachula Airlines flying to Tapachula Business Class flights Domestic flights Alternative airports FAQ
This month, there are 147 flights arriving at Tapachula Airport, which are 35 flights per week or 5 flights per day.
The most frequently departed flights to Tapachula are routes from Mexico City (MEX) in Mexico and Tijuana (TIJ), also in Mexico. These two routes together are operated 143 times this month, and make up for 97% of all monthly arrivals at Tapachula International Airport.
The longest flight to Tapachula TAP is departing from Tijuana (TIJ). This non-stop flight takes around 4 hours and 35 minutes and covers a distance of 1,972 miles (3,174 km).
List of all direct flights to Tapachula
Below you can find a list of all cities and countries that have direct flights to Tapachula, ordered by popularity.
134 flights this month
Tijuana (TIJ)
Airlines flying to Tapachula
Currently, there are 2 airlines that fly to Tapachula. Below you can find the list of airlines that operate all TAP flights:
Volaris (Y4)3 routes to TAP
Aeromexico (AM)1 route to TAP
Business class flights to Tapachula
There is only one airport that has Business Class flights to Tapachula, which is Mexico City (MEX).
International flights to Tapachula
Currently there are no international flights to Tapachula. The only flights to Tapachula are domestic flights within Mexico. To get to Tapachula from another country you will need a flight with a stopover, for example through Mexico City or Guadalajara.
Domestic flights to Tapachula
Flights from Mexico to Tapachula
There are 3 airports in Mexico that have non-stop domestic flights to Tapachula.
From Guadalajara, direct flights are offered by Volaris.
From Mexico City, you can fly non-stop with Aeromexico (SkyTeam) or Volaris.
From Tijuana, you can fly non-stop to Tapachula with Volaris.
Alternative airports near Tapachula
Flying to an alternative airport near Tapachula could give you other options to reach your destination. For example, the possibility to fly with a different airline or alliance, or finding a cheaper airfare. The only alternative airport to Tapachula (TAP) within a range of 125 miles (200 km) is Guatemala City (GUA).
Guatemala CityGuatemala
124 mi / 200 km
How many airports are there in Tapachula?
There is 1 airport in Tapachula: Tapachula International Airport (TAP).
What is the best airport to fly into Tapachula?
The most convenient airport to fly into Tapachula is Tapachula International Airport (TAP).
How many airlines fly to Tapachula?
There are 2 airlines flying to Tapachula from 3 airports around the world, as of January 2021.
Which airlines fly to Tapachula?
Volaris and Aeromexico are the only airlines flying to Tapachula.
Which alliances are flying to Tapachula?
SkyTeam is currently the only alliance flying to Tapachula.
How many nonstop flights are there to Tapachula?
There are roughly 147 flights arriving at Tapachula every month (or 35 flights each week), from a total of 3 airports - all within Mexico.
What is the official name of Tapachula Airport?
The official name of Tapachula Airport is Tapachula International Airport.
What is the airport code of Tapachula Airport?
The airport code of Tapachula Airport is TAP.
What are the most popular flights to Tapachula?
Mexico City, Tijuana and Guadalajara are the 3 most popular routes to Tapachula. For a complete overview of all flight routes to Tapachula, please use our flight map.
How long is the flight to Tapachula?
Mexico City to Tapachula 1h 50m
Tijuana to Tapachula 4h 35m
Guadalajara to Tapachula 2h 13m


As a photographer I have the opportunity to be with people during some of the most difficult as well as exhilarating times of their lives. When I first met the Mayo family, times were tough. Their 12 year old son, Zack, was battling terminal cancer and I asked if I could come and photograph their family one afternoon. I had followed their journey online through friends and prayed for Zack and his family daily. It was a pleasure getting to meet Zack, his little brother Nick, Mom and Dad in person and an honor for me to be able to photograph their family. When Zack passed away a few short months later my heart was broken for them.
Fast forward from 2010 to 2015… this time around, the Mayo family called me with much joy and enthusiasm. They welcomed little Samuel into their world in December, quite a bit earlier than expected. He spent a couple of months in NICU growing stronger until he was finally home, ready for his big photo shoot! By example Zack taught Nick how to be an amazing big brother. You can already tell by how attentive and happy Nick is that he's got the big brother thing down! I am so happy for this family and their new addition. Their life even in the most difficult times, has been a true example of the joy we have through Christ. It's such a blessing to see a little more sunshine added to their life!
Kc and Dana, your wedding day was perfect and thank you for letting us be the ones to capture the moments.
Kc and Dana were married on a chilly Saturday, just before the sun set on the Cape Fear River in downtown Wilmington. With their close family and friends all snuggled on benches under the open sky at The Atrium, Kc and Dana exchanged their vows to one another. It was wonderful and what made it more personal was the fact that Brent and I were there, as their friends and photographers, to capture so many moments throughout their big day. Nothing thrills us more than to be the eyes for an event that includes those we cherish and love. The day held transparent words of love and commitment, gorgeous artistic design, and so much joyous dancing and laughter! In a nutshell, Kc and Dana's wedding did not disappoint.
Part 2 of Kc and Dana's day is coming so stay tuned for more of the celebration!
Thank you to everyone who made this wedding a beautiful success! This day would not be complete without you!
Awww yay! These are so great! Can't wait to see the rest!! We love you guys.


These soft and chewy chocolate peanut butter cup cookies are stuffed full of Reese's pieces and peanut butter cups. The perfect cookie for peanut butter cup lovers!
Pin these chocolate peanut butter cup cookies for later.
I've said it before and I'm sure I'll say it again and again, but I love chocolate and peanut butter together. I think they may be the best combo in the world, though its hard to argue against a few of my other favorites as well.
Anyway, this time instead of stuffing my cookies full of chocolate chips, I stuffed them full of chopped up peanut butter cups and Reeses pieces. Two delicious candies on their own that take these cookies to the next tasty level and give them that perfect peanut butter cup flavor.
These cookies are perfectly soft and chewy, similar in texture to a soft chocolate chip cookie. They are baked for 7 to 9 minutes. They'll be fudgier in the middle if they're undercooked a little, so that's up to you – but I definitely recommend not overcooking them. They'll keep cooking on the pan for a couple minutes after you remove them from the oven, so it's okay if they still look a little underdone when you pull them out.
Now who's ready to whip up a batch of these tasty cookies. I promise you'll get a delicious taste of chocolate and peanut butter in every bite!
Don't forget to serve them up with a big glass of cold milk!
These soft and chewy chocolate peanut butter cup cookies are stuffed full of Reese's pieces and peanut butter cups. The perfect cookie for peanut butter cup lovers!
Cream together your butter and sugars in a large bowl until light and creamy.
Mix in the vanilla and eggs.
Dump in the baking soda, salt, cocoa powder, and flour and stir together until everything is mixed.
Fold in the reeses pieces and peanut butter cup pieces.
Scoop cookie dough by the tablespoonful onto a lined baking sheet or sprayed with nonstick spray.
Bake cookies for 7-9 minutes until they start to look done.
Allow cookies to sit on the cookie sheet for about 3 minutes before removing to a cooling rack.
You can't beat chocolate and peanut butter cookies!
I can't resist the chocolate peanut butter combo! These cookies look perfect!
Thanks Jessica! Its my favorite combo!
I love chocolate and peanut butter! Great combo!
Thank you Megan! Its my favorite!
These cookies are screaming to me–I can never resist chocolate and peanut butter together.
Thanks Kristen! I think you'd love them!
These cookies have all of my favorite things in them! They look amazing!
Thank you Kelly! My thoughts exactly!


Don't sweat it. I was going through my Spread sheet for my yearly finds and found that during my copy / paste of various cells and formulas for each month, that I had 1 too many of one thing and 1 too few of another. I had some cell and formula fixing to do. I THINK everything is now squared away, not that I have the pink slip to one of my detectors riding on it like Gregg and Monte with their silver coin competition, (Just kiddin' about that) But, it is good to be accurate in my 'record' keeping especially if I'm posting it on the forum for everybody to see. I don't want to be misrepresenting how bad of a detectorists I really am.
Just for the Record, I wished it was the 1877.