"Dorothy Day made many mistakes in her life," grants priest and filmmaker Ellwood P. Kieser, "but I have no doubt that she is now a saint! After all, she surrendered her life to God and gave God a chance to work in her. And that's what makes one a saint."
Father Kieser, better known as "Bud," is a big, tall Paulist priest
who has worked zealously in Hollywood for over 36 years to carve out
a space for the gospel message in the film and TV industry. Entertaining
Angels: The Dorothy Day Story, his new feature film opening in
New York, Los Angeles and Toronto on September 27 and expanding to
the other U.S. and Canadian cities in the weeks following, is his
latest attempt to do just that. (See additional production information
Entertaining Angels brings to the big screen the story of a remarkable American woman who became a convert to Catholicism in the 1930's, cofounded the Catholic Worker Movement and lived with the poor and the unemployed for the rest of her life. She became a leading voice in the worker movement, as well as in the anti-war and civil-rights movement. She died in 1980.
"I knew her," Father Kieser tells me as we sit on wooden steps a stone's throw from an old weather-beaten cottage at Broad Beach in Malibu where part of the film was being shot in April 1995. "Dorothy and I met in Rome during the fourth session of the Second Vatican Council in the mid 60's," Father Kieser recalls. "I asked her one day if I could put her story on film--to which she quipped rather brusquely: 'Wait 'til I'm dead!'"
Dorothy Day's "mistakes," according to Father Kieser, included a series of ill-fated romantic relationships with which she struggled as a young woman. They generally ended in heartbreak and pain, one even involving an abortion.
"Yet, in time," adds Father Kieser, "this woman made the necessary decisions to turn her life over to Christ. She entered the Church and spent the last 50 years of her life serving the poor and homeless in New York City. She had a prophetic influence on the American and universal Church. She lived out in her own life the option for the poor and the vocation of a peacemaker."
Father Kieser calls Dorothy Day "a feisty, street smart, yet compassionate American Mother Teresa--but a Mother Teresa with a past!"
As a matter of fact, Dorothy Day met with Mother Teresa more than once during her lifetime, once in Calcutta. Both women, Father Kieser points out, "clearly understood the limitations of a bureaucratic response to homelessness and poverty. Each saw the absolute necessity of reaching out in a personal, one-to-one way in helping those who are needy or marginalized."
Cast Led by Moira Kelly and Martin Sheen
Very visible during the shooting of Entertaining Angels--at least the two days St. Anthony Messenger was on the set--was the 27-year-old movie actress Moira Kelly, who plays the title role. Kelly is single and a committed Roman Catholic.
She was very visible because her role required her to appear in nearly every scene of the film. Kelly was constantly rushing back and forth between her mobile dressing room and the cottage and beach area where many of the scenes of Day's early life were set. (In real life, Dorothy's cottage was on Staten Island, New York.)
Despite the nonstop shooting schedule that would go late into the night, Kelly cordially squeezed in an interview with St. Anthony Messenger (see sidebar below).
Also prominent in the film is Martin Sheen, best known for his starring role with Marlon Brando in Apocalypse Now and more recently with Michael Douglas in the hit, The American President. Sheen, who has worked with Father Kieser on other movie projects, plays the role of Peter Maurin, Dorothy Day's mentor and the cofounder of the Catholic Worker Movement.
Though Sheen was not on the set at the time of my visit, he said later by phone "playing the role of Peter Maurin was an opportunity to give back to the Catholic Worker what they had given to me. You see, back in 1959, I was a struggling actor in New York. And I used to go to the Catholic Worker house on Spring Street to get free meals--and also food for the soul!
"The spirit of Dorothy Day is very much alive today," he adds. "She was a major contributor to the direction the Church has take in social justice. Being in this film has been very satisfying."
Two-time Oscar nominee Melinda Dillon ( Absence of Malice, Prince of Tides) takes the part of Sister Aloysius, the zealous nun who helped bring Dorothy into the Church. Veteran actor Brian Keith plays the cardinal archbishop of New York who, in the film's version of the story, comes to visit Dorothy Day at the Catholic Worker house to question her regarding some of her activities on behalf of the poor. (In real life, this confrontation occurred between Dorothy Day and a chancery official, not directly with any cardinal as such.)
The music for Entertaining Angels is by Bill Conti, whose popular scores for the Rocky movies are well known to millions of Americans.
The film was scripted by John Wells, who is currently executive producer of and a writer for NBC's hit series ER. Father Kieser feels very fortunate to have worked with Wells. The son of a socially progressive Episcopalian priest, Wells was able to bring to the script "a degree of theological sophistication rare in Hollywood," affirms Father Kieser.
Director of the film is Michael Rhodes, a Presbyterian, who has worked with Father Kieser on Romero as supervising producer and for 16 years as staff producer and director at Paulist Productions. More recently, Rhodes produced and directed CBS's acclaimed TV series Christy. Father Kieser is president of Paulist Pictures and the executive producer of Entertaining Angels. Six years ago, St. Anthony Messenger interviewed the priest-producer just as he was about to release Romero. The film, which told the story of Oscar Romero, the slain archbishop of San Salvador, was the first major film Father Kieser had produced for commercial theaters.
Father Kieser told St. Anthony Messenger at the time that if the film were to be successful--or break even--his next big project would be a film about Dorothy Day. The fact that he has now done Entertaining Angels suggests that Romero had successfully accomplished its mission.
"We didn't make money on Romero," Father Kieser told me, "but we didn't lose any either. The movie paid for itself, enabling us to repay the $2.5 million we had borrowed to make the picture and to roll over the other million, which we had raised with Romero, for the producing of Entertaining Angels." The Catholic Communication Campaign has made significant contributions to both Romero and Entertaining Angels, adds Father Kieser.
Who Was Dorothy Day?
The new film tries to compress an answer to "Who was Dorothy Day?" into its less-than-two-hour time frame. To present an adequate portrait of Dorothy Day, the film had to convey two things: that Day was one of the most remarkable women and social reformers of the 20th century and that her search for God and spiritual meaning was intense.
The film concentrates especially on the 20-year span of Dorothy's life, from age 20 to 40. Says Father Kieser: "That was the period in which she faced the great crises of her life and made the decisions which shaped all else."
Scenes From the Film
Dorothy Day is 20 years old as the story begins in New York in 1917. When the audience first sees her, she is participating in a protest by a group of suffragettes, demonstrating for women's rights.
The following scenes from the movie give a good sense of the flow of the film, as well as highlights of Dorothy's life story:
* Dorothy is in the newsroom of the New York Call, the socialist newspaper for which she writes on a variety of social issues. We see her interacting vivaciously with writer and coworker Mike Gold.
* Dorothy hangs out in the Hell Hole, a smokey Bohemian saloon in Greenwich Village, New York. She talks late into the night about politics and romance with friends like playwright Eugene O'Neill, Mike Gold, and an assortment of actors, literary figures and revolutionaries.
* On a New York street one night, Dorothy and O'Neill converse about life, love and religion. O'Neill reverts to his Irish Catholic upbringing.
* The scene changes: Dorothy is in bed with Lionel Moise in his apartment. Lionel is one of regulars at the Greenwich Village hangout, a drinking buddy of Ernest Hemingway and a womanizer. He is Dorothy's first love partner in this film. The relationship leads to an abortion and ends abruptly and unhappily, to say the least.
* It's 1925. Dorothy starts to live at a small beach cottage on Staten Island. One day on the beach she encounters Forster Batterham, a caring man whom she had met earlier in Greenwich Village. They fall in love and enter a common-law marriage that brings them some happiness, but not without a good share of conflict as well.
* Dorothy is overwhelmed with joy when a daughter, Tamar, is born to them in 1927. But Dorothy's determination to have Tamar baptized--and to become a Catholic herself--leads to a wrenching breakup with Forster, who is opposed to organized religion.
* It's 1933. Dorothy is back on the streets of New York City. It's the time of the Great Depression. She witnesses the suffering of the unemployed, the homeless and the hungry. She also notes the seeming indifference of society to the plight of the poor, as well as the indifference shown to the poor by many in the Catholic Church, the faith community she has joined with considerable fervor.
* Visiting a church, Dorothy seeks an answer to the question: Why is the Catholic Church not showing a greater hunger for justice and for serving the poor? Praying before a crucifix, she asks Christ to show her what she is supposed to do.
* Almost immediately, at her brother's apartment in New York, Dorothy gets an answer to her prayer. There Dorothy is introduced to Peter Maurin, who is destined to become her very special friend and associate. Maurin was a poor French farmer by birth, who taught for a while as a Christian Brother and then emigrated to Canada. He wandered around as an itinerant laborer and eventually moved to New York. He lived a life of voluntary poverty after the example of St. Francis. His grasp of Catholic social teaching and his irrepressible desire to express his views was just what Dorothy needed.
* Peter is an ever-flowing fountain of ideas, but he needs Dorothy to put them into practice. He's the seer and she's the doer. He talks of creating houses of hospitality for the homeless and a newspaper for publishing their views on social reform. Both of these ideas will become realities in the near future. Dorothy quickly takes to the newspaper idea. After all, she knows a lot about journalism, labor and the struggle for justice.
* It's 1933, May 1, known as May Day in the labor movement. We see Dorothy and her friends carrying bundles of the very first edition of The Catholic Worker into New York's Union Square, the hub of many radical activities. Amidst banners and placards, a Communist parade is marching through the square. Dorothy climbs onto a park bench, waves a paper over her head and announces: "For those of you who think there is no hope, The Catholic Worker is for you! Only one penny!" The paper was a huge success from day one, and is still circulated widely today.
The final third of the movie, generally speaking, follows Dorothy's day-to-day struggles as she faces the challenges of maintaining a growing number of Catholic Worker houses. There are the needs of the poor, the disabled and the mentally ill who stream continuously through their doors. There are battles with building inspectors and with people opposed to her radical ideas and involvement in the anti-war movement--and with those who accuse her of being a Communist.
She has to deal with other issues too, like bringing up her daughter Tamar in the unstable atmosphere of a Catholic Worker house and Peter Maurin's failing health. Finally, she has to face moments of self-doubt, especially when a group of her own co-workers accuses her of arrogance and of forcing everyone to submit to her radical ideals and dictates.
Entertaining Angels is the story of a dedicated woman who must hold in balance her love for God and for the Church, on one hand, and the demands of her social conscience, on the other. The film shows her struggling through all these challenges and emerging as a heroic human being--and, according to many, a saint.
A Film for Our Times
Because Dorothy Day is an authentic American figure and, in the eyes of many, a true hero, Father Kieser believes that this filmed version of her story will make strong connections with U.S. society today.
"I think Dorothy Day is quintessentially American," says Father Kieser. "And in her life, she struggled with questions that, some 50 years later, would be the live-nerve issues of contemporary American society: feminism and women's rights, sexuality and commitment, abortion, single motherhood, the balancing of career and family responsibility, nonviolent conflict resolution, option for the poor, the jobless, the homeless, the hunger for transcendent meaning."
In 1991, Father Kieser wrote a hardcover autobiography about his film making career entitled Hollywood Priest: A Spiritual Struggle (Doubleday). A paperback version (Paulist Press) appeared in January 1996 under the title of Spiritual Journey of a Show-Business Priest, including a chapter on Entertaining Angels.
In the new chapter, Father Kieser asserts that Dorothy's life provides a message to which women and men can relate in our day. For it is "a spiritual journey which begins in Dorothy's confused self-indulgence but which flowers not only into self-discipline, self-acceptance and self-giving, but also into a joyous ego transcendence that enables Dorothy to forget all about herself in reaching out to God who lives in the poor."
The film will touch the lives of many modern viewers, believes Father Kieser, because it deals with questions with which many Americans are struggling today.
Another thing is certain. Many of the values and programs that Dorothy Day stood for already in the 30's and 40's--and which are underscored in the film--have found acceptance in the contemporary Church, both local and universal.
For example, her insistence that personal holiness and social action must go hand in hand received a strong confirmation in the worldwide Synod of Bishops' 1971 Statement Justice in the World: "Action on behalf of justice and participation in the transformation of this world fully appear to us as an essential dimension of the preaching of the gospel."
Also, her tireless struggle to eliminate war and her pleas for economic justice received a kind of posthumous vindication when the U.S. Catholic bishops promulgated documents on The Challenge of Peace (1983) and Economic Justice for All (1986).
Though a filmed dramatization of the life of Dorothy Day can not be expected to tell her whole story, it may lead many viewers to her own writings or to one of several good biographies detailing her life.
In any case, the influence of Dorothy Day lives on in The Catholic Worker newspaper that, eight times a year, still reaches more than 100,000 readers. Even more, her memory remains alive in over 60 Catholic Worker houses scattered in cities around the country where poor and homeless people find shelter and food and a sense of human dignity.
'God Brought This Script to Me!'
An Interview With Moira Kelly
By Jack Wintz, O.F.M.
Moira Kelly was the third of six children born and raised on Long Island, New York, by Irish immigrant parents, both devout Catholics.
Her first real encounter with Hollywood success came when she played two roles in Richard Attenborough's Academy Award-nominated Chaplin in 1992. More recently, she played a Harvard student in With Honors, starring Joe Pesci, and took a lead role in the sleeper hit Cutting Edge, a romantic tale about two figure-skating champions. Kelly was heard by millions as the voice of Nala, one of the leading characters in The Lion King, the Disney blockbuster. Her most recent work, apart from Entertaining Angels, and also opening soon is Nick Cassavetes's film Unhook the Stars with Gena Rowlands and Marisa Tomei.
In January of 1993, while filmmaker Father "Bud" Kieser was beginning to think about actresses and who might be good for the Dorothy Day role, he read an interview with Moira Kelly in The New York Times. The article, which concentrated on her role in Chaplin, stated that Kelly was an "ardent Roman Catholic" and an actress who frequently "dreams of playing Joan of Arc." Kelly's identification with this great Christian woman and saint caught Father Kieser's attention.
In his book, Spiritual Journey of a Show-Business Priest, Father Kieser writes of his initial instinct about Kelly based on the Times interview: "Here is an actress, I thought to myself, whose heroic archetype is close to the surface, something we needed in the Dorothy Day part. But I dismissed her as a possibility because she was at the time only 24."
A year or so later, however, after a long heart-to-heart conversation with Kelly, Father Kieser readjusted his view: "I could see that her faith was at the center of her life, that it was a fierce faith, passionate and ready for battle, that it permeated her entire life and that, because it did, she radiated a kind of exuberant Irish vitality that was magnetic. I could also see that she was bright--very bright--and that she, like Dorothy, marched to her own drummer, regardless of what other people might think. I could also see that she was passionate about the part...." Father Kieser offered Kelly the role, and she enthusiastically accepted it.
Still later, after watching Kelly's performance day after day during the shooting of the film, he observed: "In many ways, Moira is like Dorothy Day--intelligent, feisty, tough, fiercely independent and faith-filled. I have no doubt her portrayal of Dorothy Day arose from that place deep within herself where she also wrestles with God....I think Moira Kelly will be a major star."
St. Anthony Messenger's interview with Moira Kelly took place during a break in the shooting in late afternoon of April 27 at Broad Beach in Malibu, California. Everyone else on the crew had scurried off to get a bite to eat. The 27-year-old Kelly came over to where I was sitting and said she would like to do the interview right there--on the edge of the grass between the cottage and the sand dunes that sloped upward toward the beach. Instead of using the chair provided, she simply crouched down next to my folding chair and awaited the first question:
Q. Why did you decide to play Dorothy Day in this film?
A. Because it is the most amazing role that has ever come across my desk. And Dorothy Day's message is needed today.
Q. What is her message?
A. That we should be taking care of the less fortunate among us. Today, we are so afraid of ending up without anything that we surround ourselves with lots of material things and symbols of success. Dorothy's life suggests that we are here not to be successful but to be faithful--and to take care of those unable to take care for themselves. Peter Maurin once said that "the poor are the ambassadors of God" and they should be treated as such. If we took more time to help the less fortunate, we'd feel a lot more satisfied with our own lives. We wouldn't be grasping so much.
Q. Can you tell me about your own religious background.
A. Well, my parents are truly good people. They showed us--my brothers and sisters and me--through their own actions what it means to be Christian. For me, they are the strongest example of Christ on this planet.
Q. Did you attend Catholic schools?
A. Yes, in New York, up until the eighth grade, and then I went to public school, because we didn't have the money for all of us to stay in private schools. At college level, however, I again attended a Catholic School. [She paid her own way through Marymount Manhattan College in New York City].
Q. Has your Catholic background and education helped shape your faith?
A. They have helped my adult faith in a lot of ways. Growing up Catholic has been a gift. Being in the movie business is hard. There are a lot of battles to face and if I didn't have that religious core--that base to turn to--I would be truly lost. At times I see other people who seem adrift because they don't have a spiritual belief or a spiritual anchor.
There are so many temptations--to escalate your career or make the money come in faster or seek out the star position. When you look seriously at such a path, however, you have to ask yourself: "Is this really where I want to be?" I always say, "No, I don't think that is where God wants me to be and I'm going to listen to what God wants!"
I truly believe that God brought this Entertaining Angels script to me, because for a long time--up until I was in the eighth grade--I wanted to be a nun. When I started working on my first picture, I went to a priest and said, "I'm still torn between becoming a nun and working in the film business." The priest said, "Do you think that maybe this is the medium that God wants to use to get the message across?"
Well, for five years I have been battling with this and waiting for the right character and script to show up. Then lo and behold, here comes Entertaining Angels! So this script is truly a gift!
Q. Some actresses might have hesitated to take this role because it is religious. Why didn't you hesitate?
A. It is definitely spiritual--and it is a Catholic film--but the message is universal. The audience will get that. They will relate to the journey Dorothy Day goes through. We all go through constant transitions--emotionally, physically, mentally--before we reach the point of truth in our lives. We see Dorothy as human. We see her reach the lowest of lows. We see her make the mistakes that anyone can make--whether he or she be Catholic, Jewish, Buddhist, you name it. We are all human and capable of choosing the wrong path.
But it is facing that choice and taking responsibility for that and moving on and upward that is the important thing. We seem to think that when things go wrong in our lives that we are being punished. But such difficulties are actually lessons for us. And we should be grateful for them because they teach us what we should be doing.
Q. So your taking this role has been an important step in your life journey and an opportunity for growth?
A. Absolutely. It's definitely an opportunity for growth in my faith. I've always found myself struggling in society and struggling with religion, trying to be a devout Catholic and doing the right things according to my beliefs. And the struggle takes place in a society that is going so fast and grabbing at so much. Ours is such a me-me-me society that it is truly a battle. Doing this film has provided me with the example of a committed Christian woman--and perhaps with some inner strength that I can tune in to when I really need that extra help.
Q. Are there any ways that your own life has prepared you for this role?
A. Well, my mom always said that as a child I was so dramatic--and I always had a real fear of not being able to save the world! I wanted to come up with the answer that was going to make the rest of the world happy--that would make us all come together in community. This was the battle going on within me.
When I first read the script, I saw a lot in Dorothy's life that paralleled my own life. It was both interesting and very frightening to recognize how close to this woman I truly was in a lot of ways. Taking this role allowed me to feel all those things I had felt before in my own life. I was able to bring them to the surface and finally put them to rest--to find answers to them by walking in someone else's shoes. I truly had the opportunity to walk in the shoes of a woman who in many ways was like me. To be able to see her journey and her outcome has given me hope and faith.
Q. In many films there is some part of a person's character that "develops" or grows stronger. What aspect of Dorothy Day's life shows the most development in this film?
A. Her realization of her goal in life. She always felt that she was haunted by Christ--and by the poor. And she always felt a strong need to do something about it. And I think her greatest accomplishment was coming face to face with what was her true mission in life--and coming to realize that this is her journey, this is her job, this is the truth in her life that she can not turn away from.
Q. And just what was that job or mission?
A. Caring for the poor. Caring for the poor.
Q. The film covers Dorothy's earlier years, including a number of love affairs. Are the romantic liaisons of the younger Dorothy important for understanding her later journey?
A. Yes. Oh, yes--because her choice of men is very interesting. It is almost self-destructive. And that gives you a great insight into who she is. It gives you insight into her relationship with her father and men in general. She knew, for example, what Lionel was all about. And yet she continued to do everything in her power to hold on to him. It was her own insecurity saying to her: "If I let him go, there is not going to be another--I have to hold on to this man even though he is not the right one."
Such behavior suggests she was a very desperate woman at that point. She is eventually led to seek a different kind of relationship--her relationship with God and her friendship with Peter Maurin.
Q. Do you think that Dorothy Day's rejection of her earlier romantic relationships indicate that she turned sour and negative on human romantic love?
A. I don't think she turned sour. And I don't think it was a conscious rejection. She simply realized that the love she was searching for was not going to be found in a man. It was going to be found from within and in her relationship with God
Q. Do you think that Dorothy really found fulfillment in her relationship with God?
A. Absolutely. Absolutely. I think she truly felt love when she found God.
Q. How was this manifested in her actual life?
A. I would say in her strength. I see this strength revealed in her being able to pull herself up from the situation with Forster, in her being left with her daughter and yet coping bravely. She finds the strength, and she finds it through Christ. That is the love that she has been searching for. It gives her the ability to face herself and be able to stand up for herself. She does not need to rely on the relationship of a man to make her feel whole.
Q. So it is not a matter of Dorothy denying the value of human love?
A. No. Human love comes in so many different ways. I'm sure she found it in the faces of those people that she fed and the people that worked with her at the Catholic Worker. I'm sure she found it in private meditation and prayer. I'm sure she found it in the face of her daughter. I think she truly came in touch with it in all the different areas of love that are available to us, not just the physical, not just in human, man-to-woman relationships.
Q. In your opinion, what was Dorothy Day's greatest struggle in this film?
A. Abandonment. She always felt abandoned by her father, by the men in her life and, at one point, by God. She also had a problem with taking on too much and expecting herself to carry the whole load, rather than putting it in God's hands and saying: "I will just be your instrument; you work through me."
But Dorothy's fear of abandonment is really a strong thing in her life. The title of her autobiography, The Long Loneliness, says it all. It is certainly a fear I can appreciate and sympathize with greatly.
Q. Do you think your growing knowledge of Dorothy Day and your playing this role in the movie will affect your own life and future?
A. We'll see! (Laughing a bit mischievously)We'll see!
Jack Wintz, O.F.M.
is a Franciscan priest, ordained in 1963. He has an M.A. in English from Xavier University, Cincinnati, and has taught English in the United States and in the Philippines. He is senior editor of this publication and editor of Catholic Update. He is also the author of a new book,Lights: Revelations of God's Goodness (St. Anthony Messenger Press). For more information, see our products section. This article originally appeared in the January 1996 print edition of St. Anthony Messenger.


text:
Citizenship in Australia – Fact sheet 187
History of Australian citizenship
At Federation in 1901, ‘British subject’ was the sole civic status noted in the Australian Constitution. The Australasian Federal Convention of 1897–98 was unable to agree on a definition of the term ‘citizen’ and wanted to preserve British nationality in Australia. An administrative concept of citizenship arose from the need to distinguish between British subjects who were permanent residents and those who were merely visitors. This was necessary for the Commonwealth to exercise its powers over immigration and deportation. Motivated by the nationalism of Arthur Calwell, the Minister for Immigration 1945–49, this administrative concept was formalised in the Nationality and Citizenship Act 1948. In 1958 the Act was amended so that naturalisation could only be revoked if obtained by fraud. This prevented a naturalised person being stripped of citizenship and deported.
Throughout the 1960s, Australian citizens were still required to declare their nationality as British. The term ‘Australian nationality’ had no official recognition or meaning until the Act was amended in 1969 and renamed the Citizenship Act. This followed a growing sense of Australian nationalism and the declining importance for Australians of the British Empire. In 1973 the Act was renamed the Australian Citizenship Act. It was not until 1984 that Australian citizens ceased to be British subjects.
The relationship between citizens and government is blurred by the absence of a clear definition of Australian citizenship, its rights and obligations. Relevant records are spread widely across government agencies covering activities such as immigration, passports, franchise, jury service, public service employment and social security.
Reflecting this, the records held by the National Archives cover a range of issues such as: the legal and constitutional meaning of citizenship; naturalisation; ceremonies; promotional activities; civic identity of migrants, aliens, Aboriginal people, non-Europeans and women; rights and obligations of citizenship; travel and passports; and international human rights.
Most records take the form of case files or policy files and include correspondence, reports, newspaper clippings, and bills introduced into Parliament.

domain: sociology


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Families from the Lenoir City, Tenn area (outside of Knoxville) know about the Plastic Injection Molder, GreenLeaf Industries, but we are finally making waves across the industry. It was a matter of time, as GreenLeaf has grown steadily from its origins. Please enjoy the success story written by Crains’, Bill Bregar that was featured in Plastics News.
NEWS: Lenoir City, Tenn. — Greenleaf Industries, a Tier 2 automotive molder, has run only all-electric molding machines since it began in 1999 — and the company is gaining more work from its existing customers, and now is molding some under-the-hood parts.
Greenleaf does molding, pad printing and assembly of parts such as air outlets, glove box hinges, trays and caps, and cup holders. Business is good because U.S. car and light truck sales hit nearly 17.5 million in 2015, a record.
Dolly Parton and Hurricane Katrina also played a role in the company’s growth, though not for automotive.
The Greenleaf leaders committed to performance excellence and upgrading the skills of its 45 employees about two years ago, CEO Lawrence Segrest said. Sales were $4.3 million in 2015. Automotive work, all of it for Japanese nameplates such as Acura, Honda and Toyota, accounts for 70 percent of business.
“One of the first things that we looked at was, what is the heart of our business? And that’s molding. We do assembly, we do printing, but the heart of our business is molding,” Segrest said. “And there’s two key things: The machines, and our mold techs. And our mold techs are the thing we can control the most, and that [job] is the hardest thing to actually do.”
Greenleaf also standardized on Sumitomo Demag injection molding presses, again to simplify things for the plant employees, and because the machinery maker provides good service, parts, training and advice, molding officials said. The company sold off its few non-Sumitomos and replaced them.
Greenleaf still operates its first three machines — Sumitomo SES presses. The company runs nine Sumitomo Demags, with clamping forces from 50-350 tons.
Three siblings in the ownership group talked about Greenleaf’s history and future, during an interview at the plant in Lenoir City, near Knoxville: Lawrence Segrest, his sister Beth Johnson, the vice president of operations and quality systems, and brother Robert Segrest, director of business development.
Their parents, Earle and Rosaland Segrest, also work at the company. Earle’s background explains why Greenleaf became an exclusive all-electric machine house well before that became a trend.
In the mid-1990s, Earle, an industrial engineer, was working at a major manufacturer of gas caps and radiator caps. Milacron was pushing the Roboshot all-electrics, made by Fanuc Ltd. He got interested. The company bought a few, but stuck them in the middle of its molding factory full of hydraulic presses.
Lawrence tells the story: “My father thought that the technology was right. … And he thought, ‘These should be managed differently than hydraulics.’ The hydraulic guys always want to go and tweak everything, so they’d want to go tweak the electrics, which isn’t necessary. And so every shift would run it differently just like they did on the hydraulics.”
Earle Segrest was executive vice president. Management sounded interested in his idea to set up a separate molding shop, with a dedicated crew, for the all-electrics. “And after two years, he realized that they were just telling him that, but they weren’t really going to do it,” Lawrence Segrest said.
So Earle asked his son if he wanted to start a business. Lawrence, who was doing diesel engine design at Cummins, said yes.
His dad wanted him to handle the finances. That’s not easy for an engineer, Lawrence said, so he got an MBA from Duke University, skipped graduation, and they started Greenleaf in 1999. The company began with four employees in repurposed industrial space at Oak Ridge National Laboratory in Tennessee. But the government decided it really did need some of the buildings, and Greenleaf and some other companies were forced to get out.
“So we were 3 years old, struggling, and now we had to spend $70,000 to move. We found the closest building that had a crane, that was available, so that we wouldn’t lose all our employees,” he said. That was important, since Greenleaf was QS 9000 certified for automotive, just nine months after it opened.
Greenleaf moved at the end of 2002 to Lenoir City, not far from ORNL. The molder occupies about 30,000 square feet of the 55,000-square-foot building; another company has the rest.
Earle negotiated with his former employer and got some cap business from it. Lawrence Segrest said they sent four molds, and 12 more were supposed to come over. But it didn’t pan out.
“It was lean times,” he said. “Our cash burn was pretty high. And we didn’t have a sales program, because our mission in life was to get these 12 or so molds, figure out how to run them and all that.”
Getting work for a Tier 1 supplier to Nissan helped. Then Greenleaf also picked up some Honda air outlet assemblies, now a major business, Lawrence Segrest said.
Then came Dolly Parton. The country music star’s Dixie Stampede dinner show needed a new molder to replace one that went out of business, he said. Greenleaf bid on the high-volume, thin-margin job: a boot-shaped plastic mug. The Segrests invested in screen printing equipment, and learned how to print on the round boot shape, a challenge.
The Lenoir City factory makes about 400,000 Dixie Stampede mugs a year. Oh, and they also make some complex automotive parts. “Other than the printing part it, that [mug] is kind-of our low-tech thing. But that’s the one where everybody says ‘Oh yeah, I know about that,’” Lawrence Segrest quipped.
Meanwhile, the company kept building its air outlet molding and assembly operation. Katrina in the fall of 2005 brought in molding of knobs for appliances in mobile homes and recreational vehicles. The customer had been buying them from China, but the spike in demand, as the federal government gobbled up mobile homes for temporary housing, meant the knobs had to be air-shipped from China.
Greenleaf won the work, using its expertise in molding and screen printing. It was 2006, making Greenleaf an early example of a molder winning work back from China, or reshoring.
Today the appliance knobs and Dixie Stampede mugs remain significant parts of the business.
Greenleaf Industries is owned by three siblings: Robert Segrest, director of business development, Beth Johnson, vice president of operations, and Lawrence Segrest, CEO.
For automotive, Lawrence Segrest said: “The thing that we’re most excited about now, is, we’re doing some under-the-valve-cover parts for Toyota engines.” Greenleaf molds the part for the customer, which laser welds the component to its own molded part, to assemble an oil delivery system, he said.
And Beth Johnson, an engineer who had a background in medical catheters and stents before joining the family business, said Greenleaf could move into some medical, given its know-how in all-electric molding.
Lawrence Segrest said it’s a good time to look at diversifying. Auto sales are solid in the U.S., but the trend is production increasing in Mexico, thanks to low labor costs and that country’s free-trade agreements that fuel exports. Greenleaf covers the Southeastern United States.
The move to only Sumitomo Demags is part of Greenleaf management’s decision two years ago to aim for excellence, to move beyond a defensive mindset from the Great Recession. The molder has close ties to the machinery maker’s sales and service facility in Norcross, Ga.
“We had developed a battle-fatigued, kind-of defensive mentality. And survival, even, for 2008 and 2009,” he said. “That changes how you look at things.”
The Segrests decided: Greenleaf should be a great company, not one that just gets by.
About GreenLeaf: GreenLeaf Industries is an ISO 9001 registered manufacturer that consistently adheres to all its standards to provide our clients with consistent, reliable, quality automotive and industrial plastic parts. We are an American injection molding company, unafraid to compete in the world market and determined to succeed. Established in 1999, we take pride in our high-quality craftsmanship and superior customer service. Visit us:
310 Bussell Ferry Road
Lenoir City, TN 37771


text:
Chemie Ingenieur Technik, Vol.92, No.11, 1840-1850, 2020
Mesophilic and Thermophilic Anaerobic Digestion of Model Kitchen Waste with Variation of Fat Content
Anaerobic digestion of model kitchen waste (MKW) produced on basis of real kitchen waste (KW) is studied in batch tests. The impact of fat content of three MKWs (14.7 %, 23 %, and 27.2 % rapeseed oil content) on the biogas production at mesophilic and thermophilic conditions and two loadings is examined. The loading of 5 g(VS)L(-1)leads to fast degradation under both temperature modes and the volume of biogas produced is only weakly correlated to the oil content. For the loading of 25 g(VS)L(-1)a strong retardation of biogas production, high concentration of volatile fatty acids and no correlation of oil content is observed.

domain: chemistry


text:
Claire OkellFormer MSc student (Royal Veterinary College, UK)
Claire was a joint MSc student with the Royal Veterinary College (UK) investigating interactions between human and animal health and household economic status in Western Kenya through the PAZ project
Claire graduated from the University of Liverpool, School of Veterinary Science in 2009 with a degree in Veterinary Science. After carrying out a research project in Ethiopia assessing the impact of rabies on livestock owners, she worked for a brief period in equine practice.
In 2010/2011 Claire studied Veterinary Epidemiology at the Royal Veterinary College and London School of Hygiene and Tropical Medicine, funded by BBSRC. After completing her masters Claire began her PhD at the RVC in 2011 which was funded by The World Society for the Protection of Animals (WSPA).
“A community-based participatory study investigating the epidemiology and effects of rabies to livestock owners in rural Ethiopia.” Okell C.N. Christley R.M. Pinchbeck G.P. Stringer A.S. Tefera G. 2013, Preventative Veterinary Medicine 108: 1 pp1-9 Access it online

domain: medical


text:
The last time I yelled the two “F Bombs” in conjunction with each other that much, I was standing on the sidewalk of New York’s Gay Pride parade. After battling back from a double-digit deficit, the Flyers chopped SLU’s lead down to two early in the second half on a Matt Kavanaugh SLAM. The senior took a pass from freshman Scoochie Smith, floated in the air for at least half a second, before jamming his seething sexual frustration through the hoop. It wasn’t quite Kurt Huelsman versus Xavier, but it’s surely a play we won’t forget about for at least 36 hours.
St. Louis had plenty of fight in them, however, taking blow after blow from the Flyers, seemingly never to relinquish the lead. Everytime UD pulled within a basket, or even tied the contest, the Bills responded with a play of their own. A Jordan Sibert three-pointer with around six minutes left gave Dayton its first lead of the game, 60-57. A few plays later, a Jalen Robinson three-pointer (!) with the shot-clock running down increased the margin to four in favor of the visiting Flyers. An and-one layup by Oliver, and a converted free-throw, at the four-minute mark gave UD its biggest lead of the game, 68-59. Things were looking good in Flyerville.
[pull_quote_center]Prior to Wednesday’s victory, Dayton had never in its program’s history defeated a ranked conference opponent on the road. UD was previously 0-for-15 against ranked teams on the road in the Midwest Collegiate, Great Midwest and Atlantic 10 Conferences.[/pull_quote_center]
And that’s when things began to unravel. Like a book you’ve read too many times, the Flyers, to no one’s surprise, went into full pucker mode. Beset by turnovers and fouls, UD looked to be in full Dayton mode with the game drawing to a close. Dwayne Evans bullied his way into the paint, kissed the ball off the glass for an easy layup, and suddenly the Flyers had just a one-point lead with 35 seconds remaining. Then, inexplicably, the two teams completely switched emotionally. UD calmly sank free-throws and the Billikens hurriedly fired off three-pointers, the Flyers were in control and SLU seemed completely out of sorts. When the game was on the line, it was the Flyers that exhibited poise while Saint Louis ran around like they were under a drone attack.
— Morgan Miller (@BballWife4Life) March 6, 2014
The Flyers had their statement game, eventually dispatching the Billikens, 72-67. The huge road win pushes UD’s record to 21-9 on the season, 9-6 in conference play. From all accounts, this victory pushes UD off the bubble and safely into the field. The SLU win gives Dayton its fourth win over a Top 50 RPI team, its eight win in the PRI Top 100 and gives them an excellent shot at reaching their perceived magic number of 23 wins.
All the Flyers have to do is take down Richmond this weekend and win a game in the conference tournament to seal the deal.

domain: game


text:
Cameron Smith is Partner and Creative Director of Infinite Scale. As such, he is responsible for the overall creative direction of the firm. He focuses not only on the design style of each project but helps take the collaborative efforts of the shop from ideas to reality. His many strengths include his keen knowledge of materials and thinking through each application. Cameron is known for pushing vendors to their next level of successful production resulting in finished pieces that are not only good looking and well designed but functional.
Amy Lukas was president of SEGD in 2012-2013 and she is the co-founder of Infinite Scale Design Group. Infinite Scale is a strategic design studio that creates brand experiences in environments and events. Amy’s role as Project Director provides the foundation for each client project as she is the organizational leader and strategic thinker for Infinite Scale's clients.
Adventure and exploration have always been present in Alex’s life. This, coupled with a vivid imagination and fierce curiosity of his surroundings, has led him to an exciting and fulfilling career in Experiential Graphic Design (EGD).
Infinite Scale (Salt Lake City) promoted Jim Baehr to Senior Project Manager and Zach Norman to Design Director.
Baehr, who has been with Infinite Scale since January 2009, manages its large-scale sporting clients including the San Francisco 49ers, Denver Broncos, Buffalo Bills, New Orleans Pelicans, and the International Speedway Corporation (Daytona International Speedway and Talladega Superspeedway).
Infinite Scale (Salt Lake City), in collaboration with AECOM, designed the brand integration layer for the historic Assembly Hall renovation, now State Farm Center, in Champaign, Ill. Work included concepts for graphics, wayfinding, and fan experience starting from the outside of the arena all the way into the seating bowl and field of play. The holistic application of branding and messaging is designed to help energize the fan base, including alumni-specific gathering areas, with pure Illini identity.
The Natural History Museum of Utah has created a remarkably integrated suite of design components: the Ennead-designed building nestled in the foothills of the Wasatch Range, a series of 10 interconnected exhibitions designed by Ralph Appelbaum Associates that resonate with the natural setting, an interior and exterior wayfinding program by Poulin + Morris, brand identity by Infinite Scale, and landscape architecture by Design Workshop.

domain: artistic


Mercury Verado® engines represent the pinnacle of superior outboard design and performance. Verado engines boast advanced engineering and refined operation for boat owners who refuse to compromise. Every Verado feature is designed to deliver the ultimate, most satisfying on-water experience.
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text:
Shahana Goswami was born in New Delhi in 1986, and attended Sardar Patel Vidyalaya, Delhi and Sophia College, Mumbai. Shahana was the house captain and sports champion in her school. She secured second position at the National Artificial Wall Climbing Competition and has represented her school in athletics, badminton, basketball and volleyball at the zonal level. In addition, Shahana received training in Odissi for 10 years under Guru Padmashri Kiran Segal and has travelled and performed extensively with her dance troupe.
Shahana had a single-minded focus on professional acting since her childhood. She moved to Mumbai to complete her graduation and to explore the possibility of taking up acting as a career. In Mumbai, Shahana's first steps in acting were at Jaimini Pathak's theatre group Working Title. There, she started off as a production assistant and then acted in their productions "Seagull" and "Arabian Nights". It is through her theater circle that she came to meet talent consultant Shanoo Sharma who asked her to audition for a role in Naseeruddin Shah's directorial debut "Yun Hota to Kya Hota". Subsequently, she stumbled upon a small role of Boman Irani's daughter in Reema Katgi's "Honeymoon Travels Pvt Ltd", when she visited the production house for some other work. Meanwhile, a cinematographer who noticed her work in Yun Hota recommended her name and she auditioned for the lead role in Percept Picture Company's "Rubaru", directed by Arjun Bali, with Randeep Hooda as her co-star.
With no contacts in the film industry and no one to back her, Shahana remained steadfastly focused on her goal through rejections and unsuitable offers to finally get the big break in the form of Debbie of Rock On!!, and her memorable performance secured her a visible spot on the Bollywood map.
She also appeared in the music video for Dido Armstrong's song, Let's Do the Things We Normally Do. She played the role of the taxi driver in it.

domain: entertainment


text:
I am an artist, mlliner and designer with over 30 years experience and I love to share and pass on my skills through workshops in my studio in Berkshire. Here is my summer programme before I head off to study an MA at the Royal College of Art.
This calendar is empty
Billetto in Europe
Billetto UK Ltd
Devonshire House, 60 Goswell Road, London
Company no: 08364593 - VAT no. GB157940286


text: GTA Liberty City Stories is the ninth installment of the most revolutionary Grand Theft Auto franchise based on open world. Offering a larger and more complex experience to the masses. However, taking the standard is not much different from the previous series, especially GTA III. Rockstar as a vendor has managed to include everything as expected from a modern console title. The narrative centers around Liberty City, where you can visit three islands like in the PS2 title. Meanwhile, in the visual scope it looks very amazing because it still uses a 3D engine. However, the only real difference as far as the game goes is the storyline itself.


text:
AGRICULTURE AND HORTICULTURE
SOIL AND PLANT AMENDMENTS
22-2224. Severability. If any provision of this chapter or its application to any person or circumstance is held invalid, the invalidity does not effect other provisions or applications of this chapter which can be given effect without the invalid provision or application, and to this end the provisions of this chapter are severable.
[22-2224, added 2001, ch. 250, sec. 3, p. 915.]

domain: politics


How do you know about the induction heat treatment?
Generally speaking,Induction heat treatment is a process to change the structure and properties of metal materials through a certain heat, heat preservation and cooling in the solid state.
This is our broad understanding of the heat treatment, in fact, the induction heat treatment also includes the following process:
FIRST.Induction annealing: the metal or alloy materials or parts of the heating to the phase transition or part of the phase transition temperature, thermal insulation for a period of time, and then slow cooling of a heat treatment process.
SECOND.Induction normalizing: heating the steel to the full transformation above a certain temperature, holding for a certain time, and then, in the air cooling a heat treatment process.
THIRD,Induction hardening: the steel heating to the phase change or part of the transformation temperature, thermal insulation for a period of time, the rapid cooling of the heat treatment process.
FOURTH.Induction tempering: after the quenching of steel, re heating to a certain temperature (below the phase transition temperature), thermal insulation for a period of time, and then cooling the heat treatment process.
FIFTH, Induction quenching and tempering treatment: the steel parts quenching, followed by high temperature tempering, the composite process known as quenching and tempering treatment.
SIXTH.Surface heat treatment: change the surface of the steel parts or chemical composition, with its surface modification of the surface properties of the heat treatment process.
For more on the induction heat treatment of product information, please refer to http://www.hy-inductionheating.com/induction-hardening/steel-pipe-hardening-equipment.html.
Post time: 06-02-2016


text:
With around 25% of the world’s tropical fish species along with dugongs, dolphins, whale sharks, minke and sperm whales, Koh Lipe is a real-life utopia for divers. Rocky formations, pinnacles and boulders are the backdrop to Koh Lipe’s reefs of flourishing soft and hard coral. No matter how many dives you make here, it won’t be enough.
You’ll see plenty of trevallies, snapper and fusilier whilst diving in Koh Lipe. Devil and eagle rays swim past and lucky divers spot coral cat sharks hiding. Macro lovers have plenty of opportunities to find shrimp, pipefish, nudibranch and seahorses.
Eagle rays, leopard sharks, devil rays, mantas, barracuda and tuna grace the pristine waters: diving in Koh Lipe is unmissable.
Scuba diving in Koh Lipe can be enjoyed all year. The island's dry season runs from November-April with the driest months in December-February. Water temperature throughout the year ranges from 78-84°F/26-29°C. Visibility varies from 10 to 30m.
With higher levels of plankton in the water between May and September, diving in Koh Lipe during these months gives you the highest chance of seeing a whale shark.
After the sun has set wander down to the beach away from the fluorescent lights of beachside restaurants and look for the sparkling blue dots washed up on the sand. Bioluminescent plankton glows like fireflies in the darkness. For any marine enthusiast, this experience is mind-blowing.
Koh Lipe is a small laid back island that is part of the Tarutao National Marine Park, close to the Malaysian border.
For diving in Koh Lipe, the closest airport is in Hat Yai (a city in Thailand's far south). Connecting flights to Hat Yai run daily from Bangkok Suvarnabhumi Airport and Don Muang Airport - each with a journey time of an hour and a half. From Hat Yai Airport a minivan to the pier in Pak Bara takes around 2h.
Once you arrive at Pak Bara Pier take a speedboat over to Koh Lipe Island (1h 30m). If you are coming from elsewhere on the mainland you must still get to Pak Bara Pier to access Koh Lipe.
There are no cars on this off-the-beaten-track island. It's easy to walk around this tiny island, with powdery sand between your toes and stunning uninhabited islands dotted around you in the distance. Gorgeous island hopping is done by long-tail or speedboat.

domain: geography


text:
Hexagon World Free Download PC Game Cracked, shared by AlphaGames. Hexagon World is a God simulation game where you control the world.
CRACKED – FREE DOWNLOAD – ALPHAGAMES4U
DEVELOPER: Piece Of Voxel
PUBLISHER: Piece Of Voxel
RELEASE DATE: 4 Aug, 2021
GENRE: Strategy, Casual, Simulation, Action
Hexagon World is a God simulation game where you control the world.
In this game you can feel like God and peacefully observe how civilization grows, wars go on and the landscape changes, BUT.
You can domineeringly control the weather and various elements, at your discretion, in order to ruin the life of cities or, perhaps, improve it. You can catch freezing temperatures on hot countries, or, on the contrary, flood the whole world and cover it with grass and mountains again, so that cities will revive from the ashes, which you can also arrange for them by stumbling into volcanoes. In general, only you know how you will deal with the power that is given to you in Hexagon World.
Download Links :
Link Google Drive:
2. Crack if needed(put the crack into the game folder).
3. Play the game.
4. Have fun ^^.
- OS: Windows 7; 8; 10
- Processor: Intel(R) Celeron(R) CPU G530 @2.40 GHz
- Memory: 4 GB RAM
- Graphics: NVIDIA GeForce 9600 GSO 512
- DirectX: Version 10