Workforce Investment Act Dislocated Worker Program. Alternative Investments Strategies
Workforce Investment Act Dislocated Worker Program
- A state agency must determine that a person has been unemployed for a specific amount of time, notified of termination, or previously self-employed but economic conditions resulted in job loss.
- the commitment of something other than money (time, energy, or effort) to a project with the expectation of some worthwhile result; "this job calls for the investment of some hard thinking"; "he made an emotional investment in the work"
- outer layer or covering of an organ or part or organism
- A thing that is worth buying because it may be profitable or useful in the future
- investing: the act of investing; laying out money or capital in an enterprise with the expectation of profit
- An act of devoting time, effort, or energy to a particular undertaking with the expectation of a worthwhile result
- The action or process of investing money for profit or material result
- work force: the force of workers available
- Workforce is a discount tools and hardware brand from Home Depot.
- The workforce is the labour pool in employment. It is generally used to describe those working for a single company or industry, but can also apply to a geographic region like a city, country, state, etc.
- The people engaged in or available for work, either in a country or area or in a particular company or industry
- Cause (a person or animal) to behave in a predetermined way
- write a computer program
- Provide (a computer or other machine) with coded instructions for the automatic performance of a particular task
- Input (instructions for the automatic performance of a task) into a computer or other machine
- arrange a program of or for; "program the 80th birthday party"
- plan: a series of steps to be carried out or goals to be accomplished; "they drew up a six-step plan"; "they discussed plans for a new bond issue"
- A pretense
- perform an action, or work out or perform (an action); "think before you act"; "We must move quickly"; "The governor should act on the new energy bill"; "The nanny acted quickly by grabbing the toddler and covering him with a wet towel"
- a legal document codifying the result of deliberations of a committee or society or legislative body
- A thing done; a deed
- A particular type of behavior or routine
- behave in a certain manner; show a certain behavior; conduct or comport oneself; "You should act like an adult"; "Don't behave like a fool"; "What makes her do this way?"; "The dog acts ferocious, but he is really afraid of people"
workforce investment act dislocated worker program - Workforce Investment
Workforce Investment Act: Better Guidance and Revised Funding Formula Would Enhance Dislocated Worker Program
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Charley's (Big-Hearted) Aunt (Walter Forde, 1940)
Calvert, Phyllis [real name Phyllis Hannah Bickle] (1915–2002), actress, was born on 18 February 1915 at 3 Wellington Street, Chelsea, London, the second of the two children (both daughters) of Frederick Bickle, blacksmith, and his wife, Annie, nee Williams. By her own account a ‘skinny, shy’ child (TV Times, 22 Sept 1977), she was educated at the Margaret Morris School of Dancing and the Institut Francais. Intending to become a dance teacher, she paid for lessons by carrying oil lamps for theatregoers. She made her stage debut aged ten in 1925 at the Lyric, Hammersmith, in Crossings by Walter de la Mare, in which Ellen Terry played her final stage role. After working as a booking clerk at the Old Chelsea Palace Theatre, she moved to acting after injury and expensive medical bills. After roles in 1930s film shorts, Phyllis Bickle took the advice of the producer and director Herbert Wilcox to change her surname and ‘go to rep and learn to act’ (ibid.). Five years with provincial touring companies ended in York, where she was spotted and brought to London to play the heroine of A Woman's Privilege at the Kingsway Theatre (1939). Noel Coward cast her in his double production of This Happy Breed and Present Laughter, but the plays were cancelled when Coward moved to Paris on the outbreak of the Second World War. The same year, Calvert appeared in Max Catto's play, Punch without Judy; among the cast was Peter Auriol Murray Hill (1907/8–1957), son of George Murray Hill, a solicitor; they married on 14 June 1941, and had a daughter, Ann Auriol (b. 1943) and son, Piers Auriol (b. 1955). Peter Murray Hill later became a publisher and antiquarian bookseller. Calvert was seen in Punch without Judy by Maurice Ostrer from Gainsborough Studios; a film test resulted in parts as comic foil to Arthur Askey in Charley's Big-Hearted Aunt and to George Formby in Let George Do It (both 1940). More impressive dramatic roles came in Kipps (1941), and in The Young Mr Pitt (1942), playing the bachelor prime minister's love interest, Eleanor Eden. She then returned to the stage to play a film star contemplating leaving her RAF pilot husband in Terence Rattigan's Flare Path. Calvert's star status was assured by her next two film appearances for Gainsborough, where she was now on a long-term contract. In the regency melodrama, The Man in Grey (1943), and its Victorian counterpart, Fanny by Gaslight (1944), she played virtuous heroines abused and degraded by corrupt aristocratic villains played by James Mason, but defended by heroes from humbler stock played by Stewart Granger. Calvert embodied female integrity in the face of a degenerate encroaching male; and while the Gainsborough period melodramas were mocked by the critics and Calvert was never greatly fond of them, her performances caught the mood of a wartime Britain of working women dislocated from traditional social roles, engaged in repulsing Hitler's Germany. She again starred opposite Granger, this time playing a sufferer from dual personality, in Madonna of the Seven Moons (1944). Her position as a box-office draw allowed her more choice of roles: when in Two Thousand Women (1944), set in an internment camp in Nazi-occupied France, she refused to play ‘a novice nun ready to jump into bed with the first man who came through her cell window’ (Films and Filming, Oct 1973), the role went to Patricia Roc, and Calvert instead played a journalist. As if to recognize the greater empowerment of British women at the end of the war, and in contemplation of the task ahead, the 1930s-set Gainsborough melodrama They Were Sisters (1945) cast Calvert as a woman who seeks to restore the family order destroyed by her brutal brother-in-law, again played by James Mason. In 1947, after Gainsborough had been bought by Rank, Calvert and her husband travelled on a war-bride ship to Hollywood, as part of the star exchange system by which British studios sought to earn money by farming out their stars to American film-makers. Once in Hollywood, she rejected the publicity demands of star status, shunning the party circuit, and was unpopular with studios and media as a result. Her American credits included Time Out of Mind (1948) as a philanthropic housekeeper, and Appointment With Danger (1949) playing a nun who is principal witness in a murder trial. Calvert's unhappy experience in America, business ambitions, and artistic integrity led her to break free from contracts as soon as she could, despite her Gainsborough contract having made her one of the highest-paid women in British cinema. Back in Britain, she part-financed, starred in, and co-produced the low-budget Golden Madonna (1949) and The Woman With No Name (1950). Her most successful film role of the period was as the mother of a profoundly deaf child in Mandy (1952) fighting her family's conservatism to secure her daughter's education. However, her film appearances in the 1950s in general failed to have the popular appeal of the Gainsboro
Trumpf and Wiremold/Legrand employees complete CBIA Lean Manufacturing program
CBIA’S LEAN MANUFACTURING PROGRAM HELPS TWO COMPANIES SAVE NEARLY $2 MILLION Five employees of TRUMPF Inc., in Farmington and fourteen employees of Wiremold/Legrand in West Hartford, recently completed a certificate program in Lean Manufacturing at Tunxis Community College in Farmington. This hands-on project-based program taught by a lean specialist from CONNSTEP, a consulting, training and educational resource for manufacturers, generated nearly $2 million in savings for the companies. The savings were achieved by streamlining processes and schedules, increasing productivity and eliminating waste. The Connecticut Business & Industry Association (CBIA) established the program within the state’s community college system to train workers in lean manufacturing and supply chain management. It also provides advanced machining training using simulation and is geared toward training current and dislocated workers as well as college students. "Together, we can help Connecticut’s manufacturers remain healthy and competitive with the highly skilled workforce needed to navigate the increasing demands of a growing global marketplace,” said Nancy Castonguay, CBIA grant manager. CBIA administers the grant in partnership with Aerospace Components Manufacturers; the Metal Manufacturers Cluster Initiative; RENEW, Mass.; the Connecticut Community College System and its College of Technology and Regional Center for Next Generation Manufacturing; the Workforce Alliance; the Eastern Connecticut Workforce Investment Board; Capital Workforce Partners; the Workplace Inc.; the Regional Employment Board of Hamden County Inc., Mass.; the Connecticut Departments of Labor and Economic and Community Development. The program is funded through a $1.77 million grant from the U.S. Department of Labor to help train Connecticut workers in manufacturing jobs. CBIA was one of 11 organizations in 10 states chosen to receive the advanced manufacturing job training grant as part of the President’s High Growth Job Training Initiative.
workforce investment act dislocated worker program
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