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  • Gold is a chemical element with the symbol Au (from aurum, "shining dawn", hence adjective, aureate) and an atomic number of 79. It has been a highly sought-after precious metal for coinage, jewelry, and other arts since the beginning of recorded history.
  • (guide) steer: direct the course; determine the direction of travelling
  • (guide) lead: take somebody somewhere; "We lead him to our chief"; "can you take me to the main entrance?"; "He conducted us to the palace"
  • A thing that helps someone to form an opinion or make a decision or calculation
  • (guide) usher: someone employed to conduct others
  • A person who advises or shows the way to others
  • A professional mountain climber in charge of a group
  • able to act at will; not hampered; not under compulsion or restraint; "free enterprise"; "a free port"; "a free country"; "I have an hour free"; "free will"; "free of racism"; "feel free to stay as long as you wish"; "a free choice"
  • With the sheets eased
  • grant freedom to; free from confinement
  • loose: without restraint; "cows in India are running loose"
  • Without cost or payment
free gold making guides - The Wealthy
The Wealthy Barber, Updated 3rd Edition: Everyone's Commonsense Guide to Becoming Financially Independent
The Wealthy Barber, Updated 3rd Edition: Everyone's Commonsense Guide to Becoming Financially Independent
" . . . quite simply the best financial self-help book."
--Money Book Club, Book-of-the-Month Club
In this new and updated edition of one of the biggest-selling financial-planning books ever, David Chilton simplifies the complex puzzles of personal finance and helps you achieve financial independence. With the help of his fictional barber, Roy, and a large dose of humor, Chilton shows you how to take control of your financial future--slowly, steadily, and with sure success. Chilton's plan (detailed in an entertaining story) is no get-rich-quick scheme, but it does make financial independence possible on nothing more than an average salary.
This third edition has been updated with assistance from the Arthur Andersen Corporation, and covers the Taxpayer Relief Act of 1997 and other recent developments.
Even if you consider yourself a financial "basket case," Chilton explains how you can easily put an effective financial plan into action.

82% (19)
The most hated statue in Bristol?
The most hated statue in Bristol?
There are many statues in Bristol. One of the most prominent, in the Centre, was erected in 1895 to the memory of Edward Colston. This statue lists the many good works done by Bristol’s ‘Great Benefactor’, a merchant in the 17th century. But it makes no mention of his role as a highly placed officer in the Royal African Company. The Royal African Company held from 1672 to 1698, the sole British rights to trade with Africa for gold, ivory, spices and slaves. In 1998, when information about Colston’s involvement in the slave trade became better known, the statue was vandalised. A furious public debate ensued in the pages of the local papers about whether or not the statue should be taken down or whether a more truthful inscription should be added, telling about his involvement in slavery. Many white Bristolians resented this questioning of the reputation of the city’s most generous benefactor (he gave the equivalent today of about ?10 million to schools, churches and charities for the poor in Bristol). To date (late 2003) nothing has happened to the statue. The debate still continues. It has been given an added twist by the debate over the Colston Hall. This concert hall, named after Edward Colston and standing in Colston Street, has become a focus of the Colston debate. It is the major concert hall for the city, hosting rock and pop concerts as well as orchestral concerts, stand-up comedy and wrestling. High profile Bristol band, Massive Attack, have refused to play at the Hall because of its name and the link of the hall's name to slavery. A recent debate about changing the name of the hall resulted in a poll by the local paper being overwhelmingly in favour of keeping the name Colston Hall. It is a debate that may continue for some time. Interestingly (or ironically?) the Colston Hall stands on the site of the Great House, where the city’s first recorded black resident worked as a gardener in the late 1500s. And it was the site of Bristol’s first sugar refinery, where slave-produced sugar from the Caribbean plantations was processed from 1653 until 1708. There is only one statue to a black person in Bristol. It is of the writer and playwright Alfred Fagon. It stands on the green at the junction of Ashley Road and Grosvenor Road in the St Pauls area. Alfred Fagon was born on the Caribbean island of Jamaica in 1937. He came to Britain, and spent some years in Bristol. He was an actor and writer, with four stage plays and one television play to his credit. He died of a heart attack at the age of 49, in the prime of his career. There is now this bronze statue to his memory, sculpted by David G. Mutasa and commissioned by the Friends of Fagon Committee. There is also an Alfred Fagon Award, funded by the Peggy Ramsay Foundation. This was first awarded in 1997, and is given annually for the best new play for the theatre in English by a writer from the Caribbean or with Caribbean antecedents. Fagon’s plays are published and are currently in print. In 1999, a new footbridge was opened across a stretch of water called St Augustine’s Reach on the River Frome in the centre of Bristol. Designed by the artist Eilis O’Connell and built by engineers Arup, it is a ‘bascule’ bridge. This means that the centre section lifts up to allow large boats to pass into and out of Narrow Quay. The City Council asked for suggestions for a name for the bridge. Pero’s Bridge was suggested and supported by black groups and by Bristol’s Member of the European Parliament, Ian White. The name comes from Pero Jones, who was born a slave on the island of Nevis in the Caribbean. He was bought at the age of about 12 by John Pinney, a plantation owner. Pero became Pinney’s manservant, a house servant rather than a field servant. When Pinney moved to Bristol in 1783, Pero came with him. He continued as Pinney’s manservant until his death. He worked in his master’s house, 7 Great George Street, which served as Pinney’s home and as offices for his sugar trading business. Pero died in 1798. As far as is known, he was never freed by his owner, so he was born, lived and died a slave. The plaque beside the bridge dedicates the bridge to Pero. THE statue of Edward Colston in the Centre has dolphins around the base. The bronze statue of him in Colston Avenue was unveiled on November 13,1895. According to legend, bronze dolphins decorate the corners of the statue's plinth because, when one of his ships was in danger of sinking due to a large hole in its hull, a young dolphin which was swimming nearby plugged it with its body until it was brought to safety. Upon the vessel's safe return, Colston adopted the creature as his symbol. Other stories merely say that doiphins would swim ahead of his merchant ships and guide them safely home. A Colston charitable organisation, The Dolphin Society, exists to this day. Bristol, as England's second largest port, grew wealthy from the late 17th century onwards, from a combination of the slave trade and
porcelain heart
porcelain heart
Wonder where to go and what to do. Wonder what to say. What to feel. How to hurt. Or am I already hurting? Wonder what else there is to come. I've been pushed over a cliff and I'm hanging on by my mere fingertips. Someone steps to the edge above me and whoever it is kicks dirty that falls into my eyes and brings tears and more pain. Suddenly my spine tingles. I hear a voice so close to my ear and yet- there's no one there. Someone whispers in a cold, heartless, brittle voice. I feel cold, bony fingers stoking mine. How can that be? How does it make sense? You got yourself this far. Now won't you come back to me? Let me help you, Elysha. Let me guide you. I try to scream but my throat is so dry that nothing will come out. Forsake the One you called King. Forsake Him! Follow me. I feel my fingers slipping. More dirt is pushed into my eyes. Yet the situation seems helpless. Either I fall, or I let the the cold hands pull me up. Wasn't there another option? My King... Your King. Pshaw. Your King can't do anything. He can't...? No, He can't. There must be something. I know my King would save me. Could save me. Stop trying to fool yourself. He doesn't love you. I'm the only hope you have. I shake my head. Knowing there must be more to it than that. I know my King. He wouldn't just leave me hanging here. But why hadn't He already come to rescue me...? He doesn't want you! He doesn't care about you! I can't hold on anymore. My fingers can't grasp the cliff anymore and as I let go I feel the cold fingers flutter over mine. "Oh Lord... please save me." I'm somehow able to scream as I free fall through the air. My heart beats quickly and my stomach leaps. I'm going to die. Where is my King? Tears pour down my cheeks. "I know You, my King. I know You'd never leave me like this." And as I fell I felt His presense. I felt a comforting hand grasp mine. And though I knew that below me the ground was coming quickly- I knew that He would take care of me. I knew that He'd never let me down.

"Creator only You take brokenness And create it into beauty once again"*

free gold making guides
free gold making guides
Making Gray Gold: Narratives of Nursing Home Care (Women in Culture and Society)
This first hand report on the work of nurses and other caregivers in a nursing home is set powerfully in the context of wider political, economic, and cultural forces that shape and constrain the quality of care for America's elderly. Diamond demonstrates in a compelling way the price that business-as-usual policies extract from the elderly as well as those whose work it is to care for them.

In a society in which some two million people live in 16,000 nursing homes, with their numbers escalating daily, this thought-provoking work demands immediate and widespread attention.

"[An] unnerving portrait of what it's like to work and live in a nursing home. . . . By giving voice to so many unheard residents and workers Diamond has performed an important service for us all."—Diane Cole, New York Newsday

"With Making Gray Gold, Timothy Diamond describes the commodification of long-term care in the most vivid representation in a decade of round-the-clock institutional life. . . . A personal addition to the troublingly impersonal national debate over healthcare reform."—Madonna Harrington Meyer, Contemporary Sociology

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