Nge yethu Roger CPA Ukubuyekeza Promo amakhodi, ngeke kungadingeki nokuba ukhathazeke ngokusho overpaying ngoba isevisi azokusiza uphase CPA. I’ m proud to say that I graduated from the San Diego State University accounting program by the skin of my teeth. Almarhum Tuanku Abdul Rahman. Bryce Welker, CPA lapha, siyabonga ngokuvakasha! By the way, onjiniyela wayazi ukuthi ngokuyisisekelo ukuthenga lokhu imoto kuyoba abantu abake obeshayela izimoto abavamile. Ngenxa sezwe Suv wazama ukwenza ngangokunokwenzeka ufana nemoto umgibeli. Ngo-1998 waqeda yokuthuthukisa abalulekile. Kuze kube namuhla, izingxabano ekusukeleni mayelana nokuthi kungenzeka ukuba wenze imodeli ngo-1998 imoto entsha, noma ingabe nje kabusha enkulu imoto isizukulwane sokuqala ngempela. By the way, uveza kuze kufinyelele 1998 "frontera" yi- A. incwadi Futhi inguqulo elandelayo waziwa ngaphansi B. isiqu Shamask was also influenced by music and dance, which he explored both solo (as seen in Cello Jacket (1981), which boldly articulates the instruments curve) and in conjunction with others. His collaborations with choreographers Lucinda Childs and Mikhail Baryshnikov are reflected in an illuminating series of sketches in a loose, gestural hand that shows a lyrical side of the designers work. Shamask partnered with Childs to design costumes for eight dances between 1983 and 1999. Costume Design for Portraits in Reflection (1986, with sets by Robert Mapplethorpe) is a black and white abstract rendering of Childs in motion. Sketches for Dance Costumes for Chamber Symphony (1994) are, at their essence, geometric shapes overlaid with a grid, later reflected in his 1999 collection inspired by Bartlett. Costume Sketches for The Good Army (1994) for Baryshnikovs White Oak Dance Project depict non-costumes, a sporty street wear look using pieced, asymmetrically cut windbreaker fabric, cardigans, denim, and flannel. At first glance the costumes appear to be shirts tied around the waist, but when the dancers execute their ballet movements, the wraps become formal draped skirts. Shamask reinterpreted these costumes in his Spring/Summer 2012 collection, as seen in Mondrian Meets Superman Long Dress, in which the designerused fine linen, silk, leather, and suede to create a simple, elegant garment.