Frankie Jr. and his team had a great football season (10W-2l) this year but had a devastating loss their final game. After a very strong semi-final game where everything went right, they couldn’t catch the break they needed to win the last game. This is my message for my son and his teammates:
Winning doesn’t make you great. What makes you great is the fire inside your heart. The ability to stay focused on the ultimate prize. The tenacity to stick with it, each and every day. The desire to wake up and start fresh on your new goal. Winning is not letting defeat win. You cannot be defeated unless you give up. Quitters never win, but winners have to learn how to lose to get stronger. Let the fire in your heart burn deep. Let the pain and sorrow of a loss ignite the passion to dig deeper into your body, mind and soul. A victory is short lived but a loss makes you think long and hard during the off-season. Which will you choose? Self loathing, excuses and blame, thinking: is it time to give up? Or will you pick yourself up, dust yourself off and start training to be even better and stronger for the next season? If it is raining or snowing outside and you know your competition is inside having hot cocoa and playing video games, will you join them? Or will you be working on your mental game, working on building a stronger body, making yourself quicker and more agile, learning new plays and studying video of your heroes training and competing. What am I going to do today to help me win tomorrow? Every day you must choose an action, however small or insignificant it may seem, to build towards your ultimate goal on and off the field. Only you can choose. Take the loss and make it work for you. There will be many moments of disappointments in your life. What you decide to do with it is what makes you a winner. Take the emotion and bottle it. Use it when you think you are at the top of your game. Recall the battle that was lost. Take the feeling and ask yourself, can I throw further, can I hit harder, can I run faster? Did I leave anything on the field or did I play with my entire mind, body and soul? Did I give it my all? Battles are practice for life. Life will take you and chew you up and split you out. Are you ready to stop, rebuild, and return bigger, stronger, faster? Or will you let one single moment in life destroy you. Anyone can be a great winner when they have a great game. I want you to be winner by learning how to take a bad game, one moment of disappointment and frustration, and turn that into a little fire that burns in your heart and soul and builds and builds, stronger and stronger, creating a locomotion of desire, passion and motivation to do great things in your life. I believe in you with all my heart. Love, Daddy
Photos by FRANK CUNHA III (2015)
Media: Nikon D90 DSLR
Post Edits: iPhoto, Instagram
Photos by FRANK CUNHA III (2015)
Media: iPhone photo
Post Edits: Snapseed App
The Works Progress Administration (renamed in 1939 as the Work Projects Administration; WPA) was the largest and most ambitious New Deal agency, employing millions of unemployed people (mostly unskilled men) to carry out public works projects, including the construction of public buildings and roads. In much smaller but more famous projects the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects.
Almost every community in the United States had a new park, bridge or school constructed by the agency. The WPA’s initial appropriation in 1935 was for $4.9 billion (about 6.7 percent of the 1935 GDP), and in total it spent $13.4 billion.
At its peak in 1938, it provided paid jobs for three million unemployed men and women, as well as youth in a separate division, the National Youth Administration. Headed by Harry Hopkins, the WPA provided jobs and income to the unemployed during the Great Depression in the United States. Between 1935 and 1943, the WPA provided almost eight million jobs. Full employment, which emerged as a national goal around 1944, was not the WPA goal. It tried to provide one paid job for all families in which the breadwinner suffered long-term unemployment.
The WPA was a national program that operated its own projects in cooperation with state and local governments, which provided 10%-30% of the costs. WPA sometimes took over state and local relief programs that had originated in the Reconstruction Finance Corporation (RFC) or Federal Emergency Relief Administration (FERA) programs.
Liquidated on June 30, 1943, as a result of low unemployment due to the worker shortage of World War II, the WPA provided millions of Americans with jobs for 8 years. Most people who needed a job were eligible for at least some of its positions. Hourly wages were typically set to the prevailing wages in each area. But, workers could not be paid for more than 30 hours a week. Before 1940, to meet the objections of the labor unions, the programs provided very little training to teach new skills to workers.
The Federal Art Project (FAP) was the visual arts arm of the Great Depression-era New Deal Works Progress Administration Federal One program in the United States. It operated from August 29, 1935, until June 30, 1943. Reputed to have created more than 200,000 separate works, FAP artists created posters, murals and paintings. Some works still stand among the most-significant pieces of public art in the country.
The program made no distinction between representational and nonrepresentational art. Abstraction had not yet gained favor in the 1930s and 1940s and, thus, was virtually unsalable. As a result, the program supported such iconic artists as Jackson Pollock before their work could earn them income.
The FAP’s primary goals were to employ out-of-work artists and to provide art for non-federal government buildings: schools, hospitals, libraries, etc. The work was divided into art production, art instruction and art research. The primary output of the art-research group was the Index of American Design, a mammoth and comprehensive study of American material culture.
The FAP was one of a short-lived series of Depression-era visual-arts programs, which included the Section of Painting and Sculpture and the Public Works of Art Project (both of which, unlike the WPA-operated FAP, were operated by the U.S. Department of the Treasury).
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