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VIA CATAPULT
Stray Thoughts on Kafka, Loneliness, and Clothing-Optional Retreats
Peter Orner Wanders from Prague to the Red Woods
By Peter Orner
Whoever leads a solitary life and yet now and then feels the need for some kind of contact . . .
–Franz Kafka, "The Street Window"
We lived in Prague that year: 1999. The place was crawling with Americans as clueless as we were. Woo-hoo, what iron curtain? The weather and the wet streets were romantically gloomy. Rent was cheap. We didn't need much to stay alive. We began to talk about beer like scholars. And there were the antikvariats, the used bookstores. These dusty nirvanas were in every neighborhood, and there was always a shelf full of books in English. They sold for nothing. Many of them dated from the war. I bought a first-edition Virginia Woolf for fifteen crowns. The storeowners had contempt for any book that wasn't in Czech. Why would anybody want to read a book that's not in Czech? Every day I brought home another pile of books. We worshipped Václav Havel (and often staked him out at the Café Slavia) and read a lot of Milan Kundera. Communism sounded fun as told by Kundera, at least sexually. What's a little repression in a utopia where everybody is sleeping with everybody? And the Czechs tolerated us—for a while, anyway. I got a job teaching Anglo and American law at Charles University. A few years earlier, I'd graduated from law school. Though it made my mother proud, the degree has never come in very handy except this one time when I was living in Prague with the woman who would become my wife. M (she's asked me not to use her name) was making a film about what happened to the Gypsies after the fall of communism. There was better sex back then, and also, apparently, less (overt) racism. After the wall came down, so did the inhibition of many Czechs to express their dislike of people who they didn't think were European. And the Roma, who'd lived among them for centuries, had never been considered European. It was as though people thought they'd arrived three days ago to steal everybody's purses.
The Law Faculty building at Charles University was—is—a vast hulk of a structure that squats on the bank of the Vltava River. Everything about the place is unnecessarily huge, the height of the ceilings, the doors, especially the doors. I'd never seen such needlessly enormous doors. You had to yank them open with two hands. Franz Kafka studied at the Law Faculty and graduated in 1906. I was sure the place hadn't been renovated since. It wasn't hard for me to imagine him wandering those halls not built to human scale.
I had a lot of time to wander myself. The job turned out to be not very taxing. Having slogged through law school, I knew a little something about American law, but in the beginning, in any case, I didn't know what "Anglo" law even meant. WASPY? I was paid something like forty cents an hour, but again, it was enough to live on. Showing up to teach seemed optional. All the other professors had other day jobs. Capitalism was beginning to roar. But the Law Faculty was still mired in the old days. Sometimes I had five or six students; other times it was just me and this one guy named Jan. Jan wasn't interested in Anglo or American law. He had a cousin who lived in East Lansing and wanted to practice his English without having to pay a private tutor.
This is nothing new. A lot of people pass through Prague and dream up some dopey kinship with Kafka, but I took the fact that not only was everything I did irrelevant and completely ineffectual, I was also serving time in the very same building where he, too, once toiled. I thought: I am as lost here on the face of the earth as he was.
After about a year and a half, the film finished, M and I left Prague and moved to Cincinnati. Why? I'm still not sure. But doesn't everybody, at some point or another, move to their own private Cincinnati? After Cincinnati, we fled to California. Eventually, years later, we got married. Then everything fell apart. Doesn't everything always fall apart in California?
What follows is an aside, the reasons for which I hope will become clearer in a moment. Cut to that time not long after my marriage collapsed. I found myself lonely, bewildered, and, above all, exhausted. So I decided that what I really needed was a weekend at what people used to call a nudist colony but are now, in California, called clothing-optional retreats. If there is an almighty, omnipotent God, even He wouldn't have known what the hell I was thinking. Though I told myself all I wanted to do was to be alone for a while, I must have been hoping to meet someone. Why else would I have gone to a nudist colony? The minute I arrived at the place (which has since burned to the ground) I knew the whole mission, whatever my motivation, was turning out to be one of my more harebrained ideas. The less people were wearing, the more shell-shocked I generally became. After the long drive and being stuck in that place for at least a night, and needing, right away, to get away from all that competitively exposed flesh (only in America could clothing optional turn into one-upmanship), I hightailed it, fully clothed, up to the top of a mountain, where I found a thatched hut with two yoga mats side by romantic side. The hut was new, but built to look weathered and authentic. Good a place as any. I decided to hunker down on a yoga mat. I stretched out on the mat and did a few moves I thought resembled yoga before cursing myself for not bringing a book up here. Or at least some drugs. Or a shotgun. I stared up at the roof of my hut. I tried to will a sense of quietude amid the redwoods. I sat cross-legged and tried to imitate meditation. That didn't work, either. Too much peace makes me nervous. I must have been up there for at least an hour, staring at the thatch, ruminating on the multiplying effects of failure, when I was joined by a chatty, bearded guy wearing nothing but hiking boots and a loose thong.
Excuse me, bro, but what's with all the threads?
Little chilly, that's all. Must be the altitude.
You want to process this? Clothes are a construct, a prison. You unhappy in your own skin? Is that it, bro? Why deny the gift?
That's it, exactly. Unhappy but happy. Unhappily happy?
So yeah, as much as I wanted to bludgeon the guy with my yoga mat, I was also grateful to him, because as much as I'd told myself I wanted it, needed it, solitude is not only scary, it's work. As long as this thonged nudist was there to loathe, I didn't have to be with myself. Which was becoming draining. I guess what I'm getting at is that true loneliness is a rare and difficult thing. We want it. We don't want it at all.
Maybe it's always been this way. Here's an utterly unprovable theory I've been developing over the past couple of hours concerning Franz Kafka, after reading haphazard bits of his diary. He often craved it, but the reality is that the man wasn't lonely at all. His social life was demanding and often extraordinarily busy. I'm lucky if I get invited to three parties a year, and the last one I truly enjoyed was a fundraiser for Obama back in 2008. This was only a few months after my foray into the world of clothing optional. There, at the house of a young, indescribably rich couple, I met the mother of my daughter. Actually, we'd met before, but she hadn't returned my emails. She's a novelist, but that night was a volunteer bartender and as liberal with the vodka as she is in her politics. I hovered by the bar and downed vodka tonics like a hero for Obama. Yes, we can. Sí, se puede. Somehow, together, we wobbled back to her apartment on Precita Park. Later, not that same night, we created a child. This took us both by surprise, although biologically it shouldn't have. Biologically it was perfectly logical. We all know how this goes, but it still amazes me: together we created a big-eyed kid. In between, there was love and a fat, lazy dog.
But Kafka? We're talking about a guy who was out at the Café Louvre yukking it up with Max Brod and his other law school buddies all the time. He often read his stories out loud to the howling laughter of his friends. Kafka was a serial fiancé who never married. He was a man who ran to people as obsessively as he ran away from them. My thought (it is now late dusk, the kitchen has changed colors, and I haven't turned on the light yet) is that Kafka wrote so much about loneliness because he could never make up his mind whether he wanted it or not. In his diary he writes:
One can never be alone enough when one writes, why even night is not night enough.
I have no family feeling and visitors make me almost feel as though I were being maliciously attacked. Being alone has a power over me that never fails.
But there's also:
I passed by the brothel as though past the house of a beloved.
It seems so dreadful to be a bachelor, to become an old man struggling to keep one's dignity while begging for an invitation whenever one wants to spend an evening in company.
We are the sum of our contradictions. How could it be otherwise? Still, this fundamental and unanswerable and lingering question: Alone or with other people?
Many of Kafka's stories involve a struggle between a craving for loneliness and a terror of it. See "The Judgment," written in a single feverish night. Why the hullabaloo over an imaginary Russian friend? Either invite him to the wedding or don't . . .
But there's one very short piece that unfolds, unambiguously, in the motion of a single paragraph, like a fist opening. It's called "The Street Window" and was completed not long after Kafka's graduation from law school. All a lone man has to do is go near a window that looks out upon a street.
And if he is in the mood of not desiring anything and only goes to his windowsill a tired man, with eyes turning from his public to heaven and back again, now wanting to look out and having thrown his head up a little, even then the horses below will draw him down into their train of wagons and tumult, and so last into the human harmony.
At some point, much as we talk a big game about needing to go it alone, we can't help but be pulled to the window, to the noise and the voices. Come on into my hut and tell me about the demonology of garments, thong man. I'll listen.
My lung was fair at least out there, here where I've been for the last fortnight. I've not been able to see the doctor. But it can't be so bad considering for instance that I was able—holy vanity!—to chop for an hour and more without getting tired, and yet was happy, for moments.
–Kafka, Letters to Milena (1917)
In the beginning his swing is wobbly, but gains a sort of clipped, if awkward, grace as he chops. It isn't because he needs wood for any stove. This is pure sport. He's a guest at a German spa. He's forty. He'll be dead of tuberculosis in seven years. But at the moment his lungs feel hardy. And he's filled with expectations. He knows that as soon as he's done he will go inside and write to Milena, his latest love, and tell her what he's been up to by the woodpile. He'll write, Well, I've been chopping some wood. Holy vanity. This from a man who would later (supposedly) beg that every trace of his life's work be obliterated. Even he can't help wanting an image of himself as a man chopping wood to lodge in Milena's imagination. For a moment? For a night? For good? He chops and he chops.
In her obituary of Kafka, Milena will write that Kafka was condemned to see the world with "blinding clarity." Consider the contradiction embedded in the phrase "blinding clarity." By being prevented from seeing, he sees. But right now he's just chopping wood. And as he chops, this man, Franz, is alive and in love (again), robust even. The ax squeaks like a mouse when he worries it from the log. He raises the ax again. The wood waits. He swings—then the sound—like a loud, distant, beautiful knock.
Possible Father
In an essay on Kafka called "The I Without the Self," W.H. Auden alludes briefly to a rumor "which, if true, might have occurred in a Kafka story." The rumor, first circulated by Max Brod, is that Kafka once fathered a son but that the mother never told him the boy existed. The child, according to Brod, died in 1921 at the age of seven. Auden concludes: "The story cannot be verified because the mother was arrested by the Germans in 1944 and never heard from again."
Let's say for the moment that it's true. Let's say that the man who knew so uncomfortably much about fathers and sons was a father himself. He just doesn't know it. At least not factually. Yet somewhere deep in his tortured psyche he has a nagging thought: I'm somebody's father, too. One morning, at the end of the first decade of the last century, while on his way to his office at the insurance company, in a crowded tram, he spots a boy. An ordinary-looking little boy with a round head and bushy eyebrows, but there's something familiar about him. It's the eyes. There is something too wide about them. Kafka stares at the boy and the boy stares back. Or the boy seems to, anyway. He's really only gazing, lazily, at a man in a suit, in a hat, on a packed morning tram. Other than the giveaway eyes, he's just another fat-cheeked healthy boy with not an ounce of curiosity and, most remarkably, from the point of view of his putative father, no consecrated halo of isolation. Kafka looks at the boy's feet. They aren't small. They aren't big. They are blessed average-sized feet—ordinary feet—and he thinks of them withdrawing from battered shoes at the end of a day like today and what it might be like to cradle them in his own softish hands.
Ceiling Dust
Decided to leave the next day. Gave notice. Stayed nevertheless.
–Kafka, Diary, July 28, 1914
This was in 2006. M and I had married a year earlier, after being together almost a decade. We returned to Prague because M had received a Fulbright to study Czech film. But more to the point, we'd once been happy there. We thought living there, again, might help make us happy again. Does this ever work? To return? As if it was the place itself and not who we used to be in the place.
That last night, I waited until M was asleep, wrote a note on a piece of paper towel, and dropped it on the kitchen table. Then I lugged a hastily stuffed duffel bag two miles to my friend Hugh's apartment in Pankrác.
Hugh had been a colleague of mine at the law school back in 1999. He taught medieval legal history and was also the advisor of something called the Common Law Society, a club devoted to promoting the virtues of Anglo and American law, as well as the free market. Though I wasn't teaching that second time in Prague (I was, as I loved to proclaim, at highbrow Fulbright gatherings, writing a novel), as a former visiting professor of Anglo and American law, I'd been invited to join, at Hugh's suggestion, this extracurricular organization. I attended Common Law Society meetings once a week. I listened to presentations on civil procedure, contracts, and the inherent evilness of taxation. And at some point during that year, I stood with Hugh and the students for the annual photo. Studying this picture now, a photograph that amazingly can still be found on the Web, I can see that I was dazed. With my mop of unwashed hair, I look much younger than I actually was. I'm sure that I hadn't taken a shower in days. Even so, I remember being grateful for the Common Law Society. It gave me someplace to go.
Because by then M's struggle with paranoia had become completely debilitating. Though we'd been seeking help for years, usually from psychiatrists who were more than happy to prescribe medications but rarely took much time to speak with M, before we moved back to Prague neither of us had any clue about how bad things were going to turn. And at that time I wasn't very sane myself. M and I were trapped in something I've never been able to talk about since. There are people who've known me for years who still know none of this. But it's a story, ours (my version, anyway), and at some point stories need a little light of day.
We lived in Žižkov that year, under the television tower. Sculptures of babies crawl up and down the long pillars of the tower. I used to stand on our balcony and look at those babies defying gravity. But what comes back most vividly (I wish it didn't) is how M shouted, how the smallest thing could set her off, and how embarrassed I used to get about what our Czech neighbors must think of us. Look at these Americans now, screaming their heads off. And M would become so upset with me for trying to make her be quiet—by shouting back at her, by trying to cup my hands over her mouth—that I often had to flee that apartment. I'd wander the city for hours, day and night, talking to myself, unsure of what to do. We had few friends then, and I couldn't explain to those we did have what was going on because I didn't understand it myself. This went on for months. Every morning seemed to bring a fresh catastrophe. The professors in the film department were out to get her. They were trying to sabotage her project. The landlord is screwing us out of the security deposit. But we haven't moved out yet. How can she be screwing us over if we haven't even moved out yet? Once, I had to knock her over in order to leave. Another time she wouldn't stop hitting herself in the face. There are other things I refuse to remember. In between there were days of calm. For instance, one weekend we went by train to a place they call Bohemian Switzerland—another place we'd once been happy. M was reading something (she always read holding the book directly up to her nose), and she laughed out loud. I asked her to read it to me. I wish I remembered what it was, but I do remember that I didn't think the line was that funny. I laughed, anyway, because I was so relieved to laugh, and I kept laughing and laughing until M said, Enough, already, it's not that funny.
Also that winter our bathtub fell through the floor of the bathroom and into our neighbor's apartment below. We came home and there was our tub in PhDr. Chroma's living room. Nobody was hurt. We laughed then, too. Even Dr. Chroma laughed. For weeks, there was a massive hole in the bathroom. When we brushed our teeth we could look down and say hello to Dr. Chroma.
Most everything else was hell. For M's increasingly frequent manic episodes, one Czech doctor recommended vitamins, and why not a kitten?
By that last night in Prague I was panicked and exhausted. The only thing I could think of to do was go home, wherever home was. I had no idea. San Francisco? Chicago? I'd never been to Hugh's apartment. Somehow, after wandering around Pankrác in the dark, I finally found the right building and pressed the buzzer. When he opened the door, Hugh didn't ask me any questions. He didn't even look that surprised to see me. Hugh was from Scotland. He taught medieval legal history. We weren't close friends, but sometimes he led me on long walks, tours of what he called great beheadings in Czech history. He'd point to a spot and say, Right here is where they sliced the neck of Ottar II. In this city, every corner staged a tragedy. Every square inch, Hugh would say, every building, every room—"Now, Peter, how about a coffee? Slavia or the cheap place in the library?"
That night Hugh immediately offered me his bed, the one I'd only just rousted him up from. He told me not to think twice about it, that come to think of it, he had reading to do. It was a one-room apartment. Hugh had built the sleeping loft to make room below for all his books. He said he'd built the loft too high, but that he'd become accustomed to it. He said he hoped the proximity to the ceiling wouldn't bother me very much. He said, Take the bed, I've got reading to do, really. Take the bed.
I was in such bad shape that I did. I took the man's bed.
The short night was so long. My nose touched the stucco ceiling as I tried to sleep. The ceiling was dusty. I kept wondering why the dust hadn't fallen to the floor, why it clung there to the stucco. Maybe this was why they call it stucco? I thought about this while I waited for sleep that never came. Outside Hugh's window was a highway. Tourists don't visit Pankrác. It's only famous for the prison. Václav Havel was once an inmate. In the dark I listened to the cars as they accelerated and vanished. At one point I noticed the bar of light under the bathroom door. Hugh hadn't wanted to disturb me. He'd retreated to the bathroom to read. In the lulls in the highway noise, I could hear him turning pages. In a few hours, M will wake up and read the paper towel.
Kafka once wrote that writing was a form of prayer. I have no recollection of what I wrote on that paper towel, but I'd like to think it was, in some way, a prayer for us both. She'll be on her own now. And I'll leave this city for good in the morning, but this night will go on and on, still does go on and on, my nose in the dust of the ceiling.
From AM I ALONE HERE? NOTES ON LIVING TO READ AND READING TO LIVE. Used with permission of Catapult. Copyright 2016 by Peter Orner.
CaliforniadivorceFranz KafkaKafka's DiariesLonelinessmarriageMax BrodPeter OrnerPragueW.H. AudenZizkov
Peter Orner is the author of the novels The Second Coming of Mavala Shikongo and Love and Shame and Love and the story collections Esther Stories, Last Car Over the Sagamore Bridge, and Maggie Brown & Others. His previous collection of essays, Am I Alone Here?: Notes on Living to Read and Reading to Live, was a finalist for the National Book Critics Circle Award for Criticism. A three-time recipient of the Pushcart Prize, Orner's work has appeared in The Best American Short Stories, The New York Times, The New Yorker, The Atlantic, The Paris Review, Granta, McSweeney's, and has been translated into eight languages. He has been awarded the Rome Prize from the American Academy of Arts and Letters, a Guggenheim Fellowship, a two-year Lannan Foundation Literary Fellowship, the California Book Award for fiction, the Edward Lewis Wallant Award for Jewish fiction, as well as a Fulbright in Namibia. He is the director of creative writing at Dartmouth College and lives with his family in Norwich, Vermont.
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Q: C++ "*" Operator Overloading I am trying to make a vector class in c++. I have overloaded the * operator like this:
class vector2
{
public:
    vector2(float x, float y);

    static vector2 vector_zero;

    float x, y;
    float length() const;
    string to_string();

    vector2 operator+(vector2 other);
    vector2 operator*(float other);
};

vector2 vector2::operator*(float other)
{
    return vector2(x * other, y * other);
}

It works fine when I write "vector2(3,4) * 2" but I want it to work when I write "2 * vector(3,4)" too.
How can I do that?

A: You need to create another operator* (outside of the class) like this:
vector2 operator*(float other, vector2 v){
  return v*other;
}

Side note:
you forgot a lot of the const declarations, an I also recommend using reference (&) for classes. I would also make these functions inline, because they are so small:
class vector2
{
public:
...
  string to_string() const;
  inline vector2 operator+(const vector2 &other)const;
  inline vector2 operator*(float other)const;
};

inline vector2 operator*(float other, const vector2 &v){
  return v*other;
}

redpajama_set_name: RedPajamaStackExchange


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Aldi breaks ground on first Virginia distribution center
March 27, 2017	/ Current News
By Sarah Vogelsong, The Progress-Index
DINWIDDIE — Gov. Terry McAuliffe and Virginia Secretary of Commerce and Trade Todd Haymore touted Dinwiddie County's new Aldi distribution center as another step forward in the governor's ambitious plans to build a "New Virginia Economy" at a groundbreaking for the project held March 24.
"This is just a continuation of what we have," McAuliffe declared, citing the 78,000 people in the commonwealth who work in logistics and distribution.
When it opens in August 2018, the Dinwiddie division headquarters and distribution center will add at least another 145 Virginians to that total. Between those labor force increases, the 500,000 square foot building that will be constructed and the $57 million in investment the new facility will require, the Aldi represents one of the largest economic development projects in the county and the region in several years.
"This is the kind of project we like to see in our part of the world," said Virginia Tobacco Region Revitalization Commission Executive Director Evan Feinman. "That's 145 families that are going to have better lives."
The Dinwiddie distribution center was, as Dinwiddie Board of Supervisors Chairman Harrison Moody pointed out, "quite some time in the making." Most notably, Virginia competed against North Carolina for the project and won, a victory McAuliffe later attributed to the commonwealth's "low-tax, business-friendly" environment.
"We have a better total package," he told The Progress-Index. "And let's be honest, North Carolina has been badly hit by HB2," a reference to the state's controversial "bathroom bill" banning transgender people from using public restrooms that do not match the sex listed on their birth certificates.
Other inducements Virginia used to attract the grocery retailer included $680,000 in Tobacco Region Opportunity funds and $450,000 from the Commonwealth Opportunity Fund.
Aldi's expansion into Dinwiddie is part of a broader plan to increase the company's footprint in Virginia, a goal that will be significantly aided by the opening of its first distribution center in the commonwealth. Over the next few years, Aldi expects to add an additional 80 stores to the 38 it currently operates in Virginia.
"It's the shoppers who are taking notice of our products," Aldi Vice President for Real Estate, Design and Development Dan Gavin told the crowd March 24.
To McAuliffe, the Dinwiddie project also represents important links to other growing industries, including the shipping business that operates out of the Port of Virginia just under 30 miles north from the new Aldi site near the intersection of Route 1 and Route 460.
"We have had a huge turnaround," said McAuliffe. "That is why these distribution centers are so important for us."
For Virginia Del. Lashrecse Aird, D-Petersburg, part of the significance of the new development lay in the promise it offers communities caught in food deserts.
"Ultimately, this is going to be a huge win for citizens, not just in Dinwiddie but for the region as a whole," she said.
As earth-movers and backhoes moved through the county landscape behind him, Dinwiddie Board Chairman Moody summed up the jubilant feel of the morning's groundbreaking: when it comes to Dinwiddie and Aldi, he said, "it's a good match."
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Employers and Jobseekers unite for a statewide virtual job fair presented by Virginia Career Works! Click on the link below that pertains to you. #workforce
https://portal.premiervirtual.com/event/register-company/3518-virginia-career-works-virtual-fair
For Jobseekers:
https://portal.premiervirtual.com/event/register-jobseeker/3518-virginia-career-works-virtual-fair
Kaisa USA, Inc. in #DinwiddieCounty, Va. is featured in the #Virginia #EconomicDevelopers Association's "Cardinal Comebacks" series! The #AdvancedManufacturing company purchased & donated hundreds of N95 masks for the community! #COVID-19 http://ow.ly/6SDV50D9Sng @DinwiddieInfo
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Employers UK wide are now required to automatically enrol all eligible employees into a workplace pension.
The workplace pensions law has now changed and every employer must comply. Auto enrolment legislation affects every employer in the UK with one or more employees. As an employer you will be required to ensure that all workers are offered a workplace pension and you will be required to pay at least the minimum contribution into a pension scheme of your choice on behalf of your employees.
The date workers will need to be enrolled will be staged and depends on the size of your organisation. Staging started in October 2012 and is being rolled out based on the largest to smallest PAYE schemes. For employers with fewer than 30 employees staging could be as late as 2015 giving you the opportunity to prepare and plan for how you will meet your obligations.
Know your staging date This will be based on the number of persons in your PAYE scheme as at 1st April 2012.The Pension Regulator will write to each employer 12 months before the date they are required to start enrolling workers into a workplace pension and again 3 months before to remind you.
Nominate a point of contact This should be the individual within your business that will receive important updates from The Pensions Regulator.
Review Present Pension ArrangementsEmployers will have to select an automatic enrolment scheme which can be an existing scheme; you will need to check if it meets the criteria to qualify as an automatic enrolment scheme.If you do not have a pension scheme, there are a number of suitable providers including the National Employment Savings Trust (NEST), Established by the government to ensure that employers can access a pension scheme to help comply with automatic enrolment.
Communicate changes to all workersEmployers must inform all workers (in writing) about the pension changes and how it affects them personally. This excludes those aged under 16, or over 75 but can include fixed-term contract workers.You can download letter templates from The Pensions Regulator website.
Automatically enrol eligible job holdersAll eligible employees must be enrolled to the pension scheme from your staging date and new employees must be automatically enrolled within 3 months of joining the company.
Employees who are outside the age limits (but under age 75), or earn less than the income tax threshold are also entitled to join and must be enrolled into the pension scheme if they ask to join.
An employee can choose to opt-out within one month of being automatically enrolled into the scheme. In this case, any contributions paid into their pension pot will be refunded.
Register with the Pensions Regulator and keep recordsEmployers must register with The Pensions Regulator and keep specified records about your qualifying scheme and the workers enrolled into it. You must register within 4 months of your staging date.You can register online.
Contribute to your workers' pensionsAfter your staging date, you must continue to contribute to your chosen pension scheme on behalf of your workers. The minimum contribution rates that an employer must pay into their workers' pension scheme will be introduced gradually over a 6 year period (from 2012 to 2018). This is known as 'phasing'. The minimum employer contribution will change from 1% to 3% over this time period.
Take a look at our short video on everything you need to know about auto enrolment.


We surveyed some editors of National Geographic's international editions to find out how their countries celebrate lost baby teeth. Chew on this: Sometimes the tooth fairy doesn't make it all the way around the world.
Children toss teeth on the over the roof. In Japan bottom teeth go on the roof and upper teeth are stashed under the floor to encourage the new teeth to grow in straight.
Children place teeth under pillows at bedtime. The 'fairy' who comes in the night is as quiet as a mouse - because for some it is a mouse that leaves a gift in the tooth's place.
The tooth is wrapped in a piece of cattle fat; then the child gives it to a dog to eat and says, "Please take my tooth and give me a better one."


text:
Styles and Makers
Early Period: late Georgian – early Victorian
Caddy Spoons – an Illustrated Guide, by John Norie, is heavily drawn on for this article. This is the classic period of caddy spoon design. Early spoons were often based on the scallop shells, which John Norie and others believed them to have been included in chests of tea, and used as measuring scoops when sampling the tea. Some natural shells were silver mounted, and various materials were used to produce early 'caddy ladles' throughout the Georgian period: Norie mentions 'tortoiseshell, treen, mother of pearl, ivory, bone, horn and ceramic ware'. And of course, Old Sheffield Plate (OSP) spoons can still be found, though genuine examples are extremely rare, and can be difficult to authenticate let alone date. They often, though not always, replicated the original silver designs, usually of the Sheffield makers, but sometimes from further afield.
Dates can always be disputed, but any English short-stemmed silver caddy spoon hallmarked earlier than 1780 is a rare item indeed and should be looked at very carefully before accepting it as genuine. Before that date, silver items were hand-raised; it is fair to say that after the development of the new techniques, including the use of Benjamin Huntsman's steel die, many Georgian and Victorian silver spoons were die-stamped from sheet silver, especially those produced or assayed in Sheffield and Birmingham. It is at least arguable that the development of die-stamping made possible the production of much cheaper silver items, so bringing the caddy spoon (along with other 'toys' as small silver items were known) into popularity with the emerging middle classes.
Initially, shell designs predominated although some London makers were very soon producing leaf-shaped bowls, plain round bowls with more or less decorative handles, and shovel scoops, often with bone, horn or mother of pearl handles.
More elaborate designs soon started to appear, incorporating flowers & foliage, birds and even ladies' crinoline gowns. One of the most famous of the 'novelty' spoons produced from this period is the Jockey Cap. This design was very popular, and several makers produced them in London, Sheffield and Birmingham from around 1800. Some filigree silver Jockey Cap examples are known, but this was not a very robust form for an everyday object, so there are relatively few survivors. Old Sheffield Plate was popular, at a time when silver was expensive and labour relatively cheap. One of the plates in Norie shows a Jockey Cap marked for Samuel Pemberton, Birmingham c 1800 alongside a very similar OSP example.
Possibly Sarah & John Blake, (Widow and son of John Blake, registered London 1809)
Other novelty designs include the Acorn, possibly initiated as a caddy spoon by Samuel Pemberton (although the design appeared much earlier in teaspoon bowls for example) and also produced by several of the other great makers of the time including Elisabeth Morley; the Hand, mostly associated with London maker Josiah Snatt and to a lesser extent with Birmingham maker Joseph Taylor; and of course, the Eagle's Wing of Joseph Willmore of Birmingham. Other makers also produced examples, perhaps most famously Matthew Linwood and in the later Victorian period George Unite. Willmore's Eagle's Wing is the emblem of the Society and is described elsewhere on this website.
This necessarily brief introduction is, we hope, just the first of a series of articles to be published on our website. Please visit the site regularly – you never know what you might find!
See Some Examples
Visit our Gallery to see examples of the many different styles of Caddy Spoon
Click to get in touch with us
If you share our interests and objectives, the SCSC will welcome you as a member.
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Can you please introduce yourself and tell us a bit about your role during the EYP International Session in Rotterdam?
My name is Sophie Scannell and I am the president of Rotterdam 2018. I live in Singapore, but home for me is London, and home home is Ireland. 2018 marks 10 years since I first joined EYP. My first ever session was in the spring of 2008 and by the time we'll get to Rotterdam, that will mark almost exactly 10 years since my first IS, which was in Rennes, France.
What is your motivation to volunteer your time to this event?
I haven't been actively involved for the past few years, but when you asked me to explain some of my reasons for wanting to come back to Rotterdam, two things were really obvious. First of all, there's no way, I'll be able to list all of my reasons here. Secondly, I had a few key reasons that I want to share with you. First of those is that if I really think what people everywhere should be really excellent at, but are often not as good as they'd like to be, it's communication. Very often it's not the speaking out loud part that's hard, but the listening part that's difficult. Communication can't really be taught. But it can definitely be learned. And the best way to learn it is by practice, by experience. That's one of the reasons I love EYP. EYP puts you in a position where it gives you the opportunity to practise a whole different style of communication in a couple different ways. It's either when you're meeting someone new and you're having a first-ever conversation with them where you develop a rapport. Or whether it's sitting in a committee with people that you have to form a consensus with and have a roundtable conversation. Or whether it's speaking to an audience where you have to be aware of the fact that they can't ask you a clarifying question if they don't understand what's what you're trying to say. All of those are forms of communication that are really important and will continue to be really important for the rest of your life. And all of those are opportunities that you get to practise in EYP, which I think is really cool.
The second reason is people. There are people who are going to be at Rotterdam who I met years ago, and I think they are just fantastic. And there are also people who've I've just met in the preparation for Rotterdam and I think they are pretty great too! I think we're all living in our own little selective bubbles, where we meet people who look quite like us – and I think you could argue that that's true with EYP as well, that it's a little bit of a bubble because a lot of us have similar backgrounds. But EYP international session is a much wider bubble! The people that you'll get to meet at EYP, you'd have never gotten to meet otherwise. The people that you get to exchange opinions with, the people that you get to have conversations with, all of that it's an incredible opportunity. And that's one of the reasons why I keep coming back to EYP.
What is the highlight of the session you are looking most forward to?
I think EYP is quite unique in trusting in young people with quite weighty topics. I think, there's a point in time where you start saying that young people can start discussing the things that really matter, but I don't know how we decide where that line is, and very often is not until you get into university or to your 20s when people say "Look, now it's the time that you can have an opinion on something that's serious". Some of the topics at EYP are really sensitive. The topic of women's rights and gender equality is about what happens in the aftermath of a sexual assault and how we deal with reporting and prosecution and how we deal with victims. That's a really heavy topic! It's one that in a lot of cases, young people wouldn't be given the trust or the responsibility to discuss. And I think that's because this kind of topic needs to be discussed with maturity, empathy and intelligence. However, I think that EYP delegates have that maturity, that empathy and they have the intelligence to talk about really quite serious topics and also to talk about them in a way that is sensitive. I'm really excited to see what happens when you have young people talking about things that matter. Not just the committee on FEMM, there are 15 topics that really matter and I'm dying to hear what opinions EYPers have on all of them.
You have started your adventure with volunteering at EYP almost ten years ago. What do you like most about it?
EYP is a lot of different things for a lot of different people. What EYP did was give me a place to express my opinions, and to work with very diverse and interesting people. I once spent a week trapped – because of a volcanic eruption – in northern Norway with a whole team of the session's officials and a handful of delegates who were able to make it. We set up a three-day dodgeball tournament, all took part in committee work during the days and wrote our media team content at night. I've never had more fun.


text:
Гали́на Константи́новна Ше́велева (Шевелёва) (26 декабря 1952, Харьков — 26 июня 1991, Москва) — советская певица, солистка ВИА «Здравствуй, песня!».

Биография

Отец Галины рано ушёл из жизни, поэтому её воспитанием занимался отчим. После окончания школы Галина стала студенткой экономического факультета Харьковского института общественного питания. Однако полученное образование не пригодилось ей в жизни. Шевелёва устраивается вокалисткой в харьковский ресторан «Кристалл».

Весной 1978 года Шевелёва приехала в Кривой Рог, где в это время с гастролями находится популярный украинский ВИА «Музыки». В ансамбле работали харьковские музыканты, с которыми она была хорошо знакома. Шевелёва прошла прослушивание, чтобы стать солисткой коллектива. На прослушивании она познакомилась с руководителем нового ВИА «Здравствуй, песня!» Аркадием Хаславским, которому Шевелёва понравилась, и он пригласил её на работу в Москву.

Принимала участие в записи первого диска-гиганта ВИА «Здравствуй, песня!» в качестве бэк-вокалистки. Первой и самой известной сольной песней Галины в составе ансамбля становится композиция Александра Морозова на стихи Леонида Дербенёва «Старый костёр».

После переезда в Москву Шевелёва снимала квартиру вместе с другой солисткой ансамбля — Людмилой Семикиной, приехавшей из Донецка. Через некоторое время Галина переехала жить к Хаславскому.

Как и большинство ансамблей 1970—1980-х годов, коллектив ВИА «Здравствуй, песня!» насчитывал значительное количество участников. В связи с этим Хаславскому было сложно выделять Шевелёву как вокалистку на фоне остальных, поскольку неизбежно повлекло бы за собой творческую ревность со стороны других участников. Только к 1981 году, когда Шевелёва стала единственной солисткой ВИА «Здравствуй, песня!», у неё появилось больше сольных песен.

Голос Шевелёвой отличался необычайным лиризмом в органичном сочетании с музыкальными ритмами. В составе ансамбля, помимо исполнения песен советских авторов, она солирует в перепевках западных хитов — «Venus», «You Set My Heart On Fire», «Woman in Love», «I will survive», «One way ticket».

Первые годы в Москве Шевёлева живёт в гражданском браке с Хаславским, в 1982 году они узаконивают свои отношения.

В 1983 году Аркадий Хаславский попал в тюрьму, и музыкальным руководителем ВИА «Здравствуй, песня!» становится музыкант и композитор Игорь Матвиенко. При нём ансамбль резко меняет музыкальное направление: на смену песням в стиле «диско» приходит рок-музыка. По этой причине Шевёлева в 1984 году покинула ансамбль, хотя и продолжала сотрудничать с ним как сольная певица в концертных программах некоторое время исполняя свой репертуар. В 1985 году  Галина Шевелева переходит на работу в Калужскую филармонию, в группу Владимира Сутормина с которым ранее работала в ВИА «Здравствуй, песня!».

В 1985 году Шевелёва приехала в Тихорецк, где в тюрьме находился её муж. Там же в это время проходят гастроли ВИА «Здравствуй, песня!». За время своего свидания по инициативе звукооператора Станислава Сафонова Галина и Аркадий записали совместный магнитоальбом, который позже вошёл в дискографию нового коллектива «ВОКС».

В 1986 году Хаславский был досрочно освобождён и начал совместную работу с Иосифом Кобзоном. В 1987 году через Росконцерт он официально забирает название «Здравствуй, песня!» у краснодарской филармонии, к которой коллектив был приписан, и регистрирует ВОКС «Здравствуй, песня» в областной филармонии города Томска.

Вплоть до 1989 года Шевелёва исполняет большую часть песен, входящих в репертуар коллектива. С группой «ВОКС» Галина выпустила два диска-гиганта — «Белый налив» (1988) и «C'est la vie» (1989). Также были записаны три магнитоальбома (1985, 1988, 1990). Наиболее популярными песнями Шевелёвой этого периода становятся композиции «Две реки», «Белый налив», «Вот и лето пришло», «Хризантемы». С песней «Арифметика любви» она участвует в большой концертной программе.

К началу 1990-х годов эпоха ВИА в СССР закончилась; Хаславский распустил группу «ВОКС», Шевелёва начала сольную карьеру. Она много работала в концертных программах Филиппа Киркорова, Марка Рудинштейна, сотрудничала с Юрием Любаном (Москонцерт), участвовала в концертах от Подольского парка с Владимиром Попковым, стала солисткой музыкального центра Вячеслава Добрынина.

По просьбе Хаславского специально для Галины композитор Борис Емельянов написал песню «Рябиновые бусы» на стихи поэтессы Натальи Шемятенковой. В 1990 года году этот шлягер вошёл в авторский диск-гигант Емельянова «Зал ожидания», а позже был переиздан на CD. Шевелёва стала участницей отборочного тура телефестиваля «Песня-1989» с песней Хаславского «Хризантемы».

В 1991 году Галина приехала на гастроли в Кривой Рог, где случайно познакомилась с Артёмом Задорожных.

26 июня 1991 года тело певицы было обнаружено в собственной квартире. По данным следствия, Галина скончалась от нескольких ударов тяжёлым металлическим предметом по голове. Преступление раскрыли по горячим следам. Накануне вечером Задорожных, оказавшись в Москве, пришёл к певице в гости и попросил разрешения остаться переночевать, так как, по его словам, с вечера не смог улететь в родной город. Утром Шевёлева увидела, как Задорожных без стеснения выносит из квартиры дорогостоящую аппаратуру. Она попыталась его остановить, подбежала к телефону, чтобы вызвать милицию, в ответ на это Задорожных убил её. Осенью 1991 года московский городской суд приговорил убийцу к 12 годам лишения свободы.

Галину Шевелёву похоронили в Харькове, на девятом городском кладбище по улице Клочковской. Организацией похорон занимался Марк Рудинштейн, поскольку Хаславский находился в это время на лечении в Израиле, куда впоследствии переехал на постоянное место жительства.

Репертуар в составе ВИА «Здравствуй, песня!»

Соло
 Берег детства (П. Аедоницкий — И. Романовский)
 Вокруг любви (А. Хаславский — И. Кохановский)
 Давай уедем к морю (В. Добрынин — И. Кохановский)
 Две берёзы (А. Хаславский — Б. Дубровин)
 Деньги-дребеденьги (А. Хаславский — Н. Олев)
 Звонок-звонок (И. Матвиенко — авт. неизвестен)
 Капризная кукла (И. Матвиенко — авт. неизвестен)
 Московские окна (Т. Хренников — М. Матусовский)
 Не оставляй меня одну (Р. Майоров — М. Рябинин)
 Огонь (А. Бедду, Л. Вандербильд)
 Песня про Дон Жуана (И. Матвиенко — авт. неизвестен)
 Просили Вы (О. Фельцман — В. Харитонов)
 Просто я такая женщина (Б. Гибб, Р. Гибб, русский текст В. Попкова)
 Простой сюжет (А. Мажуков — М. Танич)
 Разве мы могли подумать (В.р Добрынин — М. Пляцковский)
 Синяя даль (А. Хаславский — И. Кохановский)
 Старый костёр (А. Морозов — Л. Дербенёв)
 Ты снова мне скажи (А. Хаславский — И. Кохановский)
 Я выжила (Д. Фекарис — Ф. Перрен, русский текст И. Кохановского)

Дуэты
 Венера (Ван Ливен — М. Вереш) — Галина Шевелёва и Людмила Семикина
 Ледоход (З. Бинкин — О. Левицкий) — Галина Шевелёва и Владимир Сутормин
 Никуда не уехали ты да я (И. Матвиенко — М. Цветаева) — Галина Шевелёва и Сергей Мазаев
 Обрати внимание (А. Хаславский — А. Жигарев) — Галина Шевелёва и А. Хаславский
 Птица счастья (А. Пахмутова — Н. Добронравов) — Галина Шевелёва и Виктор Бут
 Синяя песня (Н. Седака, русский текст А. Азизова) — Галина Шевелёва и Людмила Семикина
 Старый клён (А. Пахмутова — Н. Добронравов) — Галина Шевелёва и Владимир Сутормин
 Так уж бывает (Я. Френкель — М. Танич, И. Шаферан) — Галина Шевелёва и Владимир Сутормин
 Узелок (М. Болотин — В. Харитонов) — Галина Шевелёва и Людмила Семикина

Бэк-вокал
 Где же ты была (В. Добрынин — Л. Дербенёв) — солист Михаил Король
 За дальней чертой (Р. Майоров — Я. Гальперин) — солист Анатолий Ленский
 Лепестки в снегу (А. Хаславский — Б. Дубровин) — весь ВИА «Здравствуй, песня» (1981)
 Не обещай (Б. Рычков — И. Шаферан) — весь ВИА «Здравствуй, песня» (1979)
 Привычное чудо (И. Словесник — Г. Борисов) — солист Леонид Грабер
 Пусть завтра (А. Москвин — Я. Гальперин) — солист Михаил Король
 Рябиновые ночи (Р. Майоров — А. Вратарев) — солист Олег Башкин
 Странный сон (Р. Майоров — М. Рябинин, И. Шаферан) — солисты Олег Башкин и Людмила Семикина
 Только любовь (А. Хаславский — И. Шаферан) — весь ВИА «Здравствуй, песня» (1979)
 Ты помнишь (З. Бинкин — М. Пляцковский) — солист Виктор Бут
 Чем не жених (Я. Френкель — И. Шаферан) — солист Виктор Бут

Репертуар в составе «ВОКС»

Соло
 Арифметика любви (В. Шаинский — В. Попков)
 Бабушка (А. Хаславский — Б. Дубровин)
 Балтика (А. Хаславский — А. Гольцева)
 Белый налив (А. Хаславский — Б. Дубровин)
 Бывало (А. Хаславский — неизв.)
 Вот и лето пришло (А. Хаславский — Б. Дубровин)
 Всё это будет (А. Хаславский — И. Кохановский)
 Всё проходит (А. Хаславский - Б. Дубровин)
 Две берёзы (А. Хаславский — Б. Дубровин)
 Две реки (А. Хаславский — В. Скалов)
 Дымок сигаеты (А. Хаславский — Б. Дубровин)
 Если бы знать (А. Хаславский — Л. Гринёва)
 Ипподром (А. Хаславский — М. Рябинин)
 Квазимодо (А. Хаславский — О. Хорш)
 Ква-ква (Песенка для лягушонка) (Р. Майоров - М. Рябинин)
 Колокольчик (А. Барыкин — Т. Артемьева)
 Любимый сад (А. Хаславский — Б. Дубровин)
 Мне больше ничего не надо (А. Хаславский — Л. Гринёва)
 Может чудится это (А. Хаславский — Б. Дубровин)
 Море (А. Хаславский — неизв.)
 Над синей рекой (А. Хасловский — Б. Дубровин)
 Не беда (А. Хаславский — неизв.)
 Не было (А. Хаславский — Л. Гринева)
 Не забуду (А. Хаславский — Б. Дубровин)
 Не объясняй (А. Хаславский — М. Рябинин)
 Не сжигай мосты (А. Хаславский — Л. Гринева)
 Не уходи (А. Хаславский — А. Гольцева)
 Оглянись хоть раз (А. Хаславский — Л. Гринёва)
 Песенка для лягушонка (Ква-ква) (А. Хаславский — Б. Дубровин)
 Позови меня (А. Хаславский — И. Сельвинский)
 Приглашу тебя в гости (А. Хаславский — В. Гин)
 Сколько можно (А. Хаславский — Л. Гринёва)
 Солнечный зайчик (А. Хаславский — Р. Ивнев)
 Трава-мурава (А. Хаславский — Б. Дубровин)
 Ты бросил якорь (А. Хаславский — Я. Гальперин)
 Хризантемы (А. Хаславский — С. Ганшина)
 Человеку надо мало (А. Хаславский — неизв.)
 Ямаха (А. Хаславский — В. Дубровин)

Бэк-вокал
 Ах, гулял (А. Хаславский — Я. Гальперин) — солист А. Хаславский
 Ах, Одесса (А. Хаславский — Н. Борисова) — солист А. Хаславский
 Белая калина (А. Хаславский — неизв.) — солист А. Хаславский
 Вот и всё (А. Хаславский — Б. Дубровин) — солист А. Хаславский
 Да-да, отныне будет так (А. Хаславский — Л. Гринёва) — солист А. Хаславский
 Здравствуй, это я (А. Хаславский — И. Кохановский) — солист А. Хаславский
 Моя любимая (А. Хаславский — Р. Ивнев) — солист А. Хаславский
 Попугай (А. Хаславский — Б. Дубровин) — солист А. Хаславский
 Ха-ха-ха (А. Хаславский — неизв.) — солист А. Хаславский
 Южный рынок (А. Хаславский — Р. Ивнев) — солист А. Хаславский

Сольные песни
 Прошло (А. Смирнов — Я. Гальперин), 1990
 Рябиновые бусы (Б. Емельянов — Н. Шемятенкова), 1990
 Рябиновые бусы (Б. Емельянов — Н. Шемятенкова), 1991
 Зачем же люди расстаются (Б. Емельянов — М. Рябинин), 1990 (бэк-вокал)
 Как далеко (Я. Бураковский - Б. Дубровин), 1991
 Все мужики коты (А. Хаславский - Б. Шифрин)
 Бывало (А. Хаславский - Б. Дубровин)
 Простой сюжет (А. Мажуков - М. Танич), 1979

Примечания

Ссылки
Официальный сайт Памяти Галины Шевелёвой
 ВИА «Здравствуй, песня»
 ВИА «ВОКС» (группа А.Хаславского)
 Ю. Рындин. ВИА «Здравствуй, песня»

Похороненные на 9-м городском кладбище Харькова
Здравствуй, песня
Убитые в СССР
Убитые в результате нанесения ударов или избиения

redpajama_set_name: RedPajamaWikipedia


text:
Top 10 Cities Hiring in 2021 for Professional and Business Services
Author: Jonathan Blair, Research Analyst
Talent acquisition professionals should prepare for robust hiring next year at companies providing Professional and Business Services in big cities throughout the U.S., from New York and Boston in the east to Detroit and Chicago in the heartland to San Francisco and Los Angeles on the West Coast.
Economists at LaborIQ® by ThinkWhy forecast that the Professional and Business Services industry should be primed for acceleration in 2021 as the promise of vaccines portends a stronger recovery on the horizon.
Professional and Business Services roles are expected to be in-demand in 2021.
That could create plenty of work for talent acquisition pros, whether they're employed in-house or by third-party recruitment firms. Recruiters will have their hands full next year filling jobs in this industry, especially in the top 10 hiring locations by volume identified by LaborIQ: New York, Los Angeles, Chicago, Washington D.C., Atlanta, San Francisco, Boston, Houston, Dallas and Detroit.
Within the Professional and Business Services industry, some niches are likely to experience stronger job growth in 2021, while others are apt to see less robust hiring.
In the latter category, ironically, are niches that have maintained or grown their employment levels during the pandemic. Among them are companies specializing in scientific research and development, waste management and remediation, architecture and engineering, accounting and bookkeeping, and computer systems design and related services. These types of businesses could be in line for what's considered "normal" growth next year.
Hiring for various roles at these companies is likely still very competitive, and unemployment rates are low for these positions. As a result, the supply of available talent will already be constrained. Moreover, these companies might not add as many new jobs because they did not lose as many during the COVID-19 recession. Still, there will be hiring due to turnover at positions in these niches next year, and a key strategy for talent acquisition pros will be to poach employees from their current jobs at other firms.
On the flip side of the coin, hiring in other Professional and Business Services niches could see hyper growth as demand returns in 2021, depending on the pace of the recovery. These niches include business support services, employment services, temporary help services, and travel arrangement and reservation services.
Since these were among the most severely impacted sectors in 2020, they could be prime candidates to rebound vigorously in the post-pandemic economy – assuming a surge of hiring and a resumption of travel. If that happens, talent acquisition pros in the top 10 cities should prepare to receive a flood of resumes from unemployed candidates vying for open positions at these types of businesses.
LaborIQ by ThinkWhy continuously forecasts and reports labor data at all levels, measuring impact to cities, industries, occupations and business across the U.S.
Labor Market Analysis


text:
Home Entertainment Andi Dorfman Boyfriend Revealed: Who is Blaine Hart?
Andi Dorfman Boyfriend Revealed: Who is Blaine Hart?
Suffice it to say that not all of Andi Dorfman's relationships have ended well.
That is okay. She has moved on and found her happiness, this time looking off screen.
The The Bachelorette alum has gone public with her new relationship.
Her new love is not a familiar face to the Bachelor Nation, but he is a man from her past.
Andi Dorfman was a contestant on Season 18 of The Bachelor before she made her The Bachelorette debut in Season 10.
About two months ago, she revealed that she was in a relationship.
She did not, at the time, disclose who the lucky man might be.
Now, the world knows his face — after she shared him on social media.
Thanks to an inside source speaking to E! News, we know his name.
Andi's significant other is Blaine Hart.
The insider dished that Andi and Blaine "met each other years ago.
This was "during college," the source detailed, after they met "through a mutual friend."
The friend in question "went to school with Blaine in South Carolina."
"They both happened to be in Italy at the same time this past summer," the source shared.
"And," the insider continued, the two "reconnected after 15 years."
Triumphantly, the source explained: "They have been together ever since!"
The insider boasts that this beautiful romance is "the fairy tale Andi always dreamt of."
The source added: "She has never been happier before in her life."
Those are strong words. Encouraging ones, too.
At first, Andi played coy about her new man.
Her first public photo with Blaine had his face turned away from the camera.
This was on November 10, when her cousin — 13 Reasons Why star Tommy Dorfman — echoed many fans by asking "Now who is this?"
Andi let people ask their questions but was in no rush to answer them.
For New Year's Eve, she took to social media to share a photo of the two of them sharing a kiss.
Andi captioned the celebratory photo: "By far my favorite thing from 2021."
The next day, Andi kicked off 2022 with another post.
"Cheers to a year filled with love and sparkles," she expressed.
Optimistically, Andi added: "2022 … I have a feeling you might very well be the best one yet!"
While that expression of hope sounds downright unrealistic considering the state of, well, everything, it's nice to hear.
Andi has certainly been unlucky in love in the past.
Never was that more apparent than when her initial debut on the franchise was on Juan Pablo's season.
Juan Pablo made for a very entertaining season … but he is widely regarded as being one of the worst leading men in the show's history.
Andi dropped out of the competition, excusing herself.
That was seven years ago, and certainly not the end of her journey.
Andi moved on with Josh Murray after she had her own time as leading lady, but they broke up in early 2015.
Blaine likely has very little to say about Andi's on-screen history.
Why? Because, according to the inside source, "he did not watch her on The Bachelorette."
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Karla is an Administrative Assistant in our Aberdeen office. Karla joined our firm in July of 2017 and brought with her an Associate's Degree in Business Management and a Bachelor of Science Degree in Education. Karla is an active volunteer in her church and community, and enjoys being a sports mom.
I feel the Woltman advantage is the professionalism and dedication to the clients. I believe clients come back to me because I'm willing to assist them with their needs in a welcoming and friendly way. Woltman Group has made me appreciate public accounting and all the dedicated people that work together as a team.


Hyderabad: The Congress party on Saturday ridiculed AIMIM President Asaduddin Owaisi for calling Telangana Chief Minister K. Chandrashekhar Rao a 'true Hindu'.
"With less than five days left for the polling for Lok Sabha elections, neither TRS nor MIM has come up with a manifesto with the list of promises they plan to fulfil if they are voted to power.
Now they are trying to polarise the elections by raising the 'Hindu-Muslim' topic," Hyderabad City Congress Committee (HCCC) Minorities Department Chairman Sameer Waliullah said in a media statement on Saturday.
Sameer said it earlier MIM leaders used to call anyone opposing their party as 'non-Muslim'. Now they appear to have taken the agency to also distribute certificates on being 'Hindus'.
"While BJP and RSS give the certification for 'patriotism' and 'nationalism', MIM is giving certification for being 'Muslims' or 'True Hindus'. Both MIM and TRS are trying to communalise the elections to divert people's attention from real issues," he said.
The Congress leader said that the statement of Asaduddin Owaisi would only benefit BJP as it would polarise voters on the basis of religion. "Asaduddin Owaisi should realise that his party MIM is a sub-regional party which is contesting from just one out of 17 Lok Sabha seats in Telangana State.
He should speak about the development he brought in Hyderabad during his last three terms and come up with a manifesto for the fourth term. Instead of representing the community and region he belongs to and talking about their issues, the MIM President is crossing all limits to hurt the interest of secular forces across the country.
While all secular parties are fighting against the Hindutva forces, he is trying to strengthen them by making provocative statements," he said.
Sameer asked Asaduddin Owaisi to specify as to what led him to believe that KCR was a 'true Hindu'. "KCR has been a Modi-Bhakt since beginning. He never raised his voice against Modi for attacks on minorities in the name of cow slaughter or love jihad.
TRS MPs supported the Modi Government on Triple Talaq Bill. There is not a single policy of BJP Government like demonitisation or GST which was not supported by TRS.
But Asaduddin Owaisi is supporting KCR which would eventually help the BJP. Both KCR and Owaisi are followers of 'Moditva' and they want to damage the secular forces in the country," he said.
He said that the Congress party has come out with a manifesto that addresses the concerns of common man. The Minimum Income Support Programme (MISP) or Nyuntam Aay Yojana (NYAY) under which Rs. 72,000 a year will be transferred to the poorest 20% families in India would help nearly 50 lakh people in Telangana.
A majority of beneficiaries for this scheme will be from the Old City of Hyderabad. Instead of supporting this scheme and other measures that would eradicate poverty and unemployment, Asaduddin Owaisi wants KCR to win the elections so that TRS could help the BJP at the Centre.
Sameer appealed to the people not to get misled from the statements of Owaisi and KCR and vote for the Congress party which has plans to wage a war against poverty and unemployment in the country. "The forthcoming Lok Sabha elections are not about leaders, but common people.
Only Congress party has the capability to defeat BJP and Modi at the national level. Regional parties like TRS or the sub-regional players MIM can win some seats.


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Bid Forms
Ravenel Lots
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Ravenel Art Column
Lot 042 Ravenel Autumn Auction 2019
Ravenel Autumn Auction 2019
Bouquet de fleurs dans un intérieur bleu
Jean DUFY (French, 1888 - 1964)
TWD 1,500,000-2,200,000
HKD 380,000-557,000
USD 48,500-71,100
CNY 347,000-509,000
TWD 1,680,000
HKD 430,769
CNY 387,097
Signed lower right Jean Dufy
Sotheby's New York, Impressionist and Modern Art, October 9, 1996, lot 95
Acquired from the above by the present owner
THE PAINTINGS INTERWOVEN WITH MUSIC AND COLORS: JEAN DUFY
With ten years age difference, the Dufy brothers, Raoul Dury and Jean Dufy, are two big figures in the French art history. The older Raoul is one of the most renowned fauvism artists and important mentor of his younger brother Jean during his artistic career. Jean Dufy's painting style is considered post-impressionistic with strong musical elements. As a unique emblem on the early 20th-century French art scene, his paintings used vivid colors to depict subjects such as the post-war French society, urban landscape, circuses, concerts, summer sailing competitions, and jazz.
Born in the Northwestern French dock city Le Havre in 1888, Jean Dufy went to Ecole des Beaux-Arts du Havre with his older brother Raoul. At the Cercle de l'Art Moderne exhibition in 1906, his aspiration to become an artist was ignited by many artists, including Henri Matisse, André Derain, Albert Marquet, and Pablo Picasso. Henri Matisse's Fenêtre ouverte à Collioure particularly enlightened and inspired him by the bright lighting and vivid colors of the painting.
In 1912, Jean Dufy followed his brother's step and came to Paris. With Raoul's introduction, Jean met many post-impressionism artists, including André Derain, Georges Braque, and Pablo Picasso. In 1914, He had his first solo show at Galerie Berthe Weill in Paris. The gallery had scaled the heights as the frontiers of the 20st-century avant-garde art. Many emerging young artists back then had their first show there. Besides the Dufy brothers, Picasso, Matisse, Jules Flandrin, and Georges Rouault also exhibited there.
After the First World War, Jean Dufy moved back to Paris and lived in Montmartre. He was a neighbor to Braque, who shared with him the ideas about Cubism art. In 1920, he painted the background for musical Le Boeuf sur le Toit. With this occasion, he was able to meet some of the most celebrated musicians at the time, Les Six, including Milaud, Auric, and Satie. Music brought his art into a new transformation and was the major factor of the novel choices of colors he had. To him, colors were the music and language gracefully dancing on his canvases.
Over the course of thirty years, Jean Dufy worked on the ornament design for Theodore Haviland in Limoges. He specialized in animal and floral pattern designs. In 1925, Exposition Internationale des Arts Décoratifs et Industriels Modernes was held in Paris and Jean Dufy won golden awards with the Châteaux de France cutlery design.
The painting Bouquet de fleurs dans un intérieur bleu was Jean Dufy's most representative work. The composition displays a collage of colors, which manifests the artist's talent with colors. The heavy strokes of blue, green, yellow, and red color blocks dissolve on the canvas and were livened by the outlines. With its strong decorative characteristics, the painting captured the genuine dynamic and impression of the moment more than a realistic depiction of the still life. It successfully immerses people in the glorious beauty of color and light. Jean Dufy preferred white and he used this color to depict a teacup, table cloth, flowers, and a cat in this painting. These objects scatter in the frame with a balanced composition. The sophisticated use of lights directs the viewers to the white table cloth. An abundant bouquet of flowers is like floating on top of it, dancing, moving, and contrasting with and stillness of the interior setting.
Many of the world-acclaimed artworks by Jean Dufy are now exhibited in the major art institutes in North America and Europe, including the Paris Museum of Modern Art, The Centre Pompidou, The Albertina, Vienna, The Art Institute of Chicago, and The Museum of Modern Art, New York.
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Restoring visa integrity an essential political operation
Independent Australia
Restoring integrity in our problematic visa system will be a difficult process, but a necessary one in order to win back the public's confidence. Dr Abul Rizvi reports.
OVER THE PAST few weeks, the Nine Network has reported on numerous examples of criminals abusing our visa system (see here and here).
No one should assume these cases represent a "few bad apples" - abuse in our visa system has steadily grown to an industrial scale since around 2014-15 as I describe here. According to the International Labour Organisation, labour trafficking is the second largest criminal enterprise on the planet - Australia is not immune from this.
But how could this come about under a Government and Department of Home Affairs (DHA) leadership that was reportedly obsessed with the integrity of our visa system and border protection? One possibility is that the DHA was so obsessed with boat arrivals that it took its eye off the ball.
Another explanation is that the Government came to view cancelling visas and removing relatively minor criminals after they had completed their custodial sentences in Australia as an indicator of visa integrity. While we have always cancelled visas of non-citizen criminals in Australia, the Government's excessive focus on this, including for people who had lived most of their lives in Australia, became a distraction. Because it mainly affected New Zealand citizens, it only served to create unnecessary tensions in the bilateral relationship.
Why the Government and DHA took their eyes off the main game in terms of visa integrity is a question the people smuggling task force recently announced by DHA Secretary Mike Pezzullo at Senate Estimates may consider. Sadly, that task force will be reluctant to lay any blame for this situation at Pezzullo's feet.
Net movement of visitor visa holders highlights Home Affairs hitch
In 2022, it is likely the net positive movement of people on visitor visas will exceed all previous years.
Or the issue may be considered by the review of visa integrity that Home Affairs Minister Clare O'Neil has referred to in media interviews. At this stage, there are no publicly available terms of reference for either of these. The review of visa integrity, if it proceeds, would need to operate in close cooperation with the broader migration system review that is currently underway. My early thoughts on that review are here.
If a review of visa integrity proceeds, what would it consider? What would be the key issues?
Any such review must at the outset get a handle on the size of the problem. While this has many dimensions, a starting point is to get an estimate of the number of people in Australia who no longer hold a visa and/or have been refused a substantive visa while in Australia and have not yet departed.
Unfortunately, DHA ceased publishing these estimates on data.gov.au, including estimates of source countries and visa types on initial entry, after June 2018. One possibility is that DHA does not want to publish this number because it has increased significantly following the surge in asylum applications from 2014-15. That surge was associated with the biggest labour trafficking scam in Australia's history.
At end October 2022, DHA reported the number of asylum seekers who have been refused asylum and are still in the country is over 70,000. These people would mostly not have work rights and would have to work illegally to survive. With another 26,000 undecided asylum applications at the primary stage and new applications growing at 1,400 per month and rising, the 70,000 refused asylum seeker figure at end October will keep growing.
The number of unsuccessful asylum seekers who are removed voluntarily is around ten per month and the number removed involuntarily is around one per month.
Yet the number of people DHA reports as having been given a warning for working illegally has steadily declined from 424 in 2015-16 to 81 in 2020-22. The number of illegal workers located (but not issued a formal warning) has declined from 2,714 in 2014-15 to 292 in 2021-22. The number of employers warned about employing people without work rights has declined from 666 in 2014-15 to 81 in 2021-22. The number of employer awareness activities has declined from 1,346 in 2017-18 to 546 in 2021-22.
It is clear DHA has given up on enforcing key immigration laws. The problem has simply grown too big.
(Data source: DHA annual reports)
While the above chart suggests a general decline in compliance action, by constantly changing nomenclature and reducing the volume of compliance data it publishes on data.gov, DHA makes it very hard for any member of the public to get a handle on the current situation.
An independent review could get to the bottom of this as the basis for improving the integrity of the visa system. That would give the review guidance on the areas of immigration policy where visa integrity needs most urgent attention. A requirement for DHA to publish consistent data on the integrity of the visa system would also help.
One issue that would jump out at the review is labour trafficking abusing the asylum system. While monthly asylum applications fell to around 600 per month during the pandemic, they have returned to around 1,400 per month with a refusal rate of around 90% overall and significantly higher for asylum applications from major source nations such as Malaysia, China, India, Vietnam and now including Pacific Island nations such as Tonga, Vanuatu and Fiji.
The review would need to consider:
what needs to be done to prevent the labour trafficking scam that started in 2014-15 from re-emerging to levels prior to the pandemic (around 2,500 asylum applications per month);
investigation and prosecution of organisers (agents, lawyers and others) as well as the effectiveness of the Migration Agents Registration Authority (MARA);
labour-hire companies and major employers associated with the scam;
any internal corruption within DHA associated with the labour trafficking scam; and
what is to be done for the victims of that scam who are now living in Australia with no rights - locating, detaining and removing them from Australia is no longer a viable option.
Significantly reducing the backlog of asylum applications and enabling faster processing of asylum applications at both the primary level and at the AAT must be a key objective. This should be done without undermining the asylum system for genuine refugees.
Alex Hawke trashes Australia's international education industry
Alex Hawke appears not to have grasped the flow-on effects of relaxed visa conditions on Australian workers, students' exposure to exploitation or Australia's international standing.
A second major method of undermining the integrity of the visa system is through student visas. Driven by former Immigration Minister Alex Hawke's decision to grant students unlimited work rights, offshore student visa applications surged to new records in each of June, July, August, September and October of 2022 by very significant margins.
DHA has expressed concerns it is seeing a substantial level of fraud in the caseload and has also been refusing large numbers of student applicants using the "genuine temporary entrant" criteria. As a result, visa grant rates have fallen dramatically. Overall offshore student grant rates have fallen from between 85% to 95% in the period November 2021 to August 2022 to 65% in September 2022 and 62% in October 2022.
Such low grant rates are unsustainable. The visa integrity review should investigate which education agents and providers are most involved in student visa applications involving fraud and what should be done about this. The role of education quality regulators - the Australian Skills Quality Authority and the Tertiary Education Quality and Standards Agency - may need to be significantly strengthened as well as examining the effectiveness of student visa criteria.
In the two years before the pandemic and again in 2022, we have seen a major increase in people on visitor visas applying for further visas after arrival.
Part of the explanation for this is the increasing gridlock in the visa system led to many people deciding to get visitor visas to Australia and then apply for the visa they really wanted after arrival. These are likely to include partners (given the massive and unlawful partner backlog that developed from 2015) as well as workers who applied onshore for skilled temporary entry visas because the offshore process was so slow. There may also have been a large increase in visitors applying for onshore parent visas and for student visas due to the high offshore student visa refusal rate.
That development coincided with a rapid increase in the number of people in Australia on bridging visas which increased from 60,795 at the start of 2015 to 202,916 by end March 2019. The number of people on bridging visas increased again to 359,981 by end March 2021. The second surge in bridging visa holders may have been associated with temporary entrants in Australia seeking to extend their stay during the pandemic. An efficient visa system operating with high levels of integrity should never have more than 50,000 people on bridging visas.
Overseas student visas entering a new phase
Home Affairs is desperately trying to cope with a huge surge in overseas student visa applications, many lured by the prospect of unlimited work rights.
Immigration authorities around the world know that a large number of visitors applying for other visas after arrival reflects a system working poorly and inefficiently. Such a situation makes the visa system vulnerable to the unscrupulous. It is therefore worrying that from January 2022 to October 2022, there have been 305,940 more visitors arriving than departing.
The visa integrity review should look at why this is happening and the extent to which this is being engineered by unscrupulous agents/lawyers. Reducing the rate at which visitors are applying for onshore visas should be a key objective along with significantly reducing the bridging visa backlog.
The visa integrity review should also look into how well the Movement Alert List (MAL) is being managed. MAL is a core tool to prevent the entry of known criminals and those who would undermine Australia's visa system. That DHA failed to prevent entry to Australia of a person convicted in the UK for two years gaol for sex trafficking suggests management of MAL has been given insufficient priority.
A stronger MAL should be a key outcome of the visa integrity review.
Finally, the visa integrity review should work with the migration system review to identify a set of key indicators of the health of the visa system that can be monitored by the DHA leadership, its ministers and the general public.
Restoring integrity to Australia's visa system will cost a fortune and take many years. It will be politically fraught. But public confidence that the visa system is being managed with a high degree of integrity is essential.
Dr Abul Rizvi is an Independent Australia columnist and a former Deputy Secretary of the Department of Immigration. You can follow Abul on Twitter @RizviAbul.
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Seniority, generosity may decide who enters college stadiums
FILE- In this Nov. 4, 2017 file photo, Nebraska Athletic Director Bill Moos is seen at Memorial Stadium in Lincoln, Neb., before an NCAA college football game. Faced with the possibility college football games will be played in stadiums with reduced capacities as a safeguard against coronavirus, athletic administrators at schools with high ticket demand are making plans to determine who gets a seat. This is a particularly painful task for athletic director Bill Moos of Nebraska, which has sold out every home football game since 1962. The Cornhuskers are a year-round passion in his state. The season ticket renewal rate for the 2020 season is a robust 93 percent. (AP Photo/Nati Harnik, file)
FILE- In this Aug. 31, 2019 file photo, Nebraska fans fill General Memorial Stadium in Lincoln, Neb., during an NCAA college football game between Nebraska and South Alabama. Faced with the possibility college football games will be played in stadiums with reduced capacities as a safeguard against coronavirus, athletic administrators at schools with high ticket demand are making plans to determine who gets a seat. This is a particularly painful task for athletic director Bill Moos of Nebraska, which has sold out every home football game since 1962. The Cornhuskers are a year-round passion in his state. The season ticket renewal rate for the 2020 season is a robust 93 percent. (AP Photo/Nati Harnik, file)


A double clutch (also called a double declutch) is a driving procedure used for vehicles with an unsynchronized manual transmission. Before the introduction of synchronizers and automatic transmissions, double declutching was the only way to drive an automobile. Due to the difficulty involved in learning the technique, it has largely fallen into disuse. However, drivers of large trucks still use double clutching, as those vehicles are usually equipped with the older, more efficient, and more durable unsynchronized gearboxes.
The purpose of the double clutch is to match the speed of the rotating parts of the gearbox for the gear you wish to select to the speed of the input shaft being driven by the engine. Once the speeds are matched, the gear will engage smoothly. If the speeds are not matched, the gears will "crash" or grate as they come into mesh. A modern synchromesh gearbox accomplishes this automatically.
When shifting up on a double-clutched vehicle, the clutch pedal is pressed and the gearbox shifted into neutral. The clutch pedal is then released. As the engine idles with no load, the rpms will decrease until they are at a level suitable for shifting into the next gear. The driver then depresses the clutch again and shifts into the next gear. The whole manouver can, with practice, take no more than a fraction of a second, and the result is a very smooth gear change. However, in order to downshift, engine revs must be increased while the gearbox is in neutral and the clutch pedal is released. This requires the driver to shift into neutral, release the clutch pedal, apply throttle to bring the revs up to a suitable speed, depresss the clutch again, and finally shift into gear. This operation can be very difficult to master, as it requires the driver to gauge the speed of the vehicle accurately and is often conducted as cars in front slow down.
A related technique is called Heel-and-Toe, during which the brake and accelerator pedal are pressed by the right foot while the clutch pedal is pressed by the left foot. Note that Heel-and-Toe can be used with any downshift clutch operation, not just with double-clutching. Though difficult, mastering Heel-and-Toe in conjunction with Double Clutching is essential for high performance driving (e.g., Rallying) where straight-cut gearboxes are often used to minimise the wastage of power.
manual transmission driving technique Contains some interesting information on various methods of operating the clutch.