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Damiecki, 200 Free Relay Team Collect NEWMAC Weekly Honors WESTWOOD, Mass.—The Babson College men's swimming & diving program collected a pair of honors when the New England Women's and Men's Athletic Conference (NEWMAC) announced its weekly award winners on Monday afternoon. Senior Alex Damiecki (Centerville, Mass.) was selected as the league's swimmer of the week, while the quartet of senior Jack Lucero (Huntington Beach, Calif.), juniors Lachlan Dibbayawan (Bangkok, Thailand) and Kevin Luu (Malden, Mass.), and sophomore Aiden Asuncion-Duong (Ladera Ranch, Calif.) were tabbed as the conference's relay team of the week. Damiecki won a pair of individual events and was a part of three victories in all in Saturday's 117-83 dual meet triumph over Clark on Saturday. He won the 200-yard freestyle with a season-best time of 1:47.13, and then posted a career-best time of 4:59.40 to finish first in the 500-yard freestyle. Damiecki wrapped up the meet by helping Babson to a triumph in the 200-yard medley relay. Lucero, Dibbayawan, Luu and Asuncion-Duong clocked in with a time of 1:31.25 to take first place by more than a second in the 200 free relay on Saturday against Clark. Babson, which is 7-0 in dual meet competition, wraps up the semester with the three-day Gompei Invitational at WPI beginning on December 6.

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The Statistical Design of EWMA Control Charts with Estimated Parameters - ASQ The Statistical Design of EWMA Control Charts with Estimated Parameters The existing procedures for designing exponentially weighted moving average (EWMA) control charts are based on the assumption of known process parameters. In practice, these parameters are usually unknown and replaced with estimates from an in-control reference sample. Using parameter estimates with design procedures intended for known parameters can lead to significantly deteriorated chart performance. In this paper, the assumption of known parameters is relaxed and design procedures for the EWMA chart are developed accordingly. Key Words: Average Run Length, Exponentially Weighted Moving Average, Integral Equation. By L. ALLISON JONES, University of Miami, Coral Gables, FL 33124-8237 IN most industrial and service applications, the mean and standard deviation of the process to be monitored are unknown. A common practice is to estimate the parameters of the process from an in-control (IC) reference sample and to establish the control chart using these estimates. Most statistical procedures for designing control charts are based on the sampling distribution of the plotted statistics, and are developed assuming known parameters. When estimates are used in place of known parameters, the appropriate sampling distribution of the chart statistics should account for the variability in the estimators; otherwise, the IC and out-of-control (OC) performance of the charts can be strongly affected. Failing to account for parameter estimates when designing exponentially weighted moving average (EWMA) charts can lead to an increase in the number of false alarms and a reduction in the ability of the charts to detect process changes. Small reference sample sizes magnify the adverse effects of estimation. For example, when parameter estimates from m = 30 IC subgroups of size n = 5 are used in an EWMA monitoring scheme with a smoothing constant of 0.1, the probability of a false alarm within twenty observations is in ated by nearly 110%. This is a rarely mentioned and unacceptable side effect of substituting estimates into the existing EWMA design procedures. One solution to this problem is to simply increase the size of the reference sample in order to reduce the variability in the sampling distributions of the estimates. Although a widely accepted heuristic is that m = 30 subgroups from a process usually produce reasonable estimates, Quesenberry (1993) suggested that at least m = 100 subgroups of size n = 5 are required to adequately estimate the parameters when designing an chart. Jones, Champ, and Rigdon (2001) showed that the sample size necessary to achieve expected statistical performance when designing an EWMA chart can be much larger than m = 100. The sufficient sample size depends on the EWMA smoothing constant, with larger samples required when smaller smoothing constants are used. When smoothing constants of 0.1 or less are used, as many as 400 IC subgroups are necessary to estimate parameters (Jones et al. 2001). In some applications where data are plentiful, it might be feasible to wait until 400 IC subgroups have accumulated in order to begin monitoring the process. In many situations, however, waiting may prove detrimental to the quality of the product or service that is being monitored. If large sample sizes are not available, the practitioner is left with a dilemma. The EWMA chart can be used with estimates based on small samples, but the statistical performance of the chart may be poor; that is, the chart may signal frequently with no assignable causes present. However, if process monitoring is delayed to obtain the necessary data, expensive process problems may go undetected during this time. Another approach is to use a self-starting procedure, such as the Q-chart, which is designed with the assumption that parameters are estimated (Quesenberry 1995). Self-starting charts can be used for monitoring earlier than traditional control charts because the parameter estimates are updated with the addition of each new observation. One limitation of self-starting procedures is the "masking", or parameter adaptation, problem. If an early process change is not quickly detected, then the parameter estimates may be adversely a ected by the change, thus masking the shift from future detection. The objective of this paper is to develop design procedures for the EWMA chart that do not require the assumption of known parameters. The new procedures give wider control limits by reflecting the variability of the parameter estimates used in the sampling distribution of the EWMA chart statistics. Charts developed with the new control limits show improved IC performance since they are designed to achieve a speci ed IC average run length (ARL). The literature regarding the EWMA chart is substantial. The next section gives a very brief review of articles pertaining to EWMA control chart design. Following this, some background information regarding the EWMA model is presented. The new design procedures for the EWMA chart with estimated parameters are given next. An example illustrating the application of the new design procedures follows. A performance comparison between the existing design methods and the new method is given. Finally, some concluding remarks are made. Read Full Article (PDF, 875 KB) Close Dashboard Why ASQ Contact ASQ ASQ is a global community of people passionate about quality, who use the tools, their ideas and expertise to make our world work better. ASQ: The Global Voice of Quality. Select Country / Region U.S./Canada http://asq.org/pub/jqt/past/vol34_issue3/jones.html © American Society for Quality. All rights reserved.

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Editing Central Louisiana State Hospital {{infobox institution | name = Central Louisiana State Hospital | image = LAcsh.png | image_size = 250px | alt = | caption = | established = 1902 | construction_began = | construction_ended = | opened = 1906 | closed = | demolished = | current_status = [[Active Institution|Active]] | building_style = [[Cottage Planned Institutions|Cottage Plan]] | architect(s) = | location = Pineville, LA | architecture_style = | peak_patient_population = 3,128 in 1959 | alternate_names =<br> *Louisiana Hospital for the Insane *Insane Asylum at Alexandria }} ==History== In 1902, the Louisiana Legislature created a facility to house and treat the mentally ill. The facility operated under several names since its opening in January 1906, but was later known as Central Louisiana State Hospital. At its peak in 1959, the hospital housed over 3,000 patients, but in recent years, patient numbers at Central dwindled to 246 in 1995 to 120 being cared for today. The hospital campus is over 400 acres. The hospital grounds also include the Civil War-era Fort Randolph. Today, Central Louisiana State Hospital is a free standing, full service psychiatric hospital licensed by the State of Louisiana, fully accredited by the Joint Commission on the Accreditation of Healthcare Organizations (JCAHO) and certified by the Centers for Medicare/Medicaid Services (CMS). Plans were announced by the state in February, 2012, to relocate the hospital to a new facility on land adjacent to Pinecrest Supports and Services Center in Pineville. The hospital will retain its name, identity and function to maintain accreditation. The new building will cost $6 million and will be funded through State of Louisiana Capital Outlay funds. Construction will take 12 to 18 months. ==Cemetery== One provision of the original legislation required the hospital board to furnish the legislature at each session a detailed report of the annual receipts and expenditures, a statistical breakdown of new and current enrollment, and a list of those deceased during the previous period. The first superintendent, Dr. George A.B. Hays, immediately set up a morgue and selected a site for a hospital cemetery in order to comply with these requirements. Given the social conditions of the times, the stigma of mental illness, plus the difficulty of contacting relatives and arranging transportation of the bodies, it was not surprising that many of the deceased patients were buried on the hospital grounds in the cemetery. Until such time as the hospital could obtain the services of a Chaplin, the superintendent or some of the staff physicians handled the burial services, using the simple and beautiful service of the Methodist Church. These early funeral services were handled entirely by the hospital, with the body being transported to the gravesite in a wheelbarrow until 1933 when a hand-drawn hearse was constructed. This hearse was used until 1950, and was pushed by pallbearers to the gravesite. Deceased female patients were draped in pink or blue shrouds made by the workers in the sewing room, and the carpenter shop probably furnished coffins (although this is not reflected in their individual reports). Hospital records indicate there are approximately 3,000 people buried in this cemetery, and it was last used in June 1985. A large wooden cross, constructed in the hospital's carpenter shop, was placed on the hill in the early 1960's. A large white solid concrete cross has since replaced it. Hospital workers poured a large concrete slab near the street for the placing of grave markers by relatives of the deceased. ==Images== <gallery> File:40024103.jpg File:LAcsh1909.jpg| ''1909'' File:LAcsh1914.jpg| ''1914'' File:LAcsh1921.jpg| ''1921'' File:LAcsh1928-53.jpg| ''1928/1953'' </gallery> [[Category:Active Institution]] [[Category:Cottage Plan]] [[Category:Louisiana]] [[Category:Institution With A Cemetery]] In the navigation menu to the left what is the second word of the fourth link from the top? Retrieved from "http://asylumprojects.org/index.php/Central_Louisiana_State_Hospital"

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British actor Albert Finney dies at 82 Friday, February 8, 2019 10:17 AM EST By GREGORY KATZ LONDON (AP) - British actor Albert Finney, the Academy Award-nominated star of films from "Tom Jones" to "Skyfall," has died at the age of 82. Finney's family said Friday that he "passed away peacefully after a short illness with those closest to him by his side." Finney was a rare star who managed to avoid the Hollywood limelight for more than five decades after bursting to international fame in 1963 in the title role of "Tom Jones." The film gained him the first of five Oscar nominations. Others followed for "Murder on the Orient Express," ''The Dresser," ''Under the Volcano" and "Erin Brockovich." In later years he brought authority to action movies, including the James Bond thriller "Skyfall" and two of the Bourne films. Displaying the versatility of a virtuoso, Finney portrayed Winston Churchill, Pope John Paul II, a southern American lawyer, an Irish gangster and an 18th-century rogue, among dozens of other roles over the years. There was no "Albert Finney"-type character that he returned to again and again. In one of his final roles, as the gruff Scotsman Kincade in "Skyfall," he shared significant screen time with Daniel Craig as Bond and Judi Dench as M, turning the film's final scenes into a master class of character acting. Although Finney rarely discussed his personal life, he told the Manchester Evening News in 2012 that he had been treated for kidney cancer for five years, undergoing surgery and chemotherapy. He also explained why he had not attended the Academy Awards in Los Angeles even when he was nominated for the film world's top prize. "It seems silly to go over there and beg for an award," he told the paper. The son of a bookmaker, Finney was born May 9, 1936, and grew up in northern England on the outskirts of Manchester. He took to the stage at an early age, doing a number of school plays and - despite his lack of connections and his working-class roots - earning a place at London's prestigious Royal Academy of Dramatic Arts. He credited the headmaster of his local school, Eric Simms, for recommending that he attend the renowned drama school. "He's the reason I am an actor," Finney said in 2012. Finney made his first professional turn at 19 and appeared in several TV movies, including "She Stoops to Conquer" in 1956 and "The Claverdon Road Job" the following year. Soon some critics were hailing him as "the next Laurence Olivier" - a commanding presence who would light up the British stage. Britain's pre-eminent theater critic, Kenneth Tynan, called the young Finney a "smoldering young Spencer Tracy" and warned established star Richard Burton about his prowess. In London, Finney excelled both in Shakespeare's plays and in more contemporary offerings. Still, the young man seemed determine not to pursue conventional Hollywood stardom. After an extensive screen test, he turned down the chance to play the title role in director David Lean's epic "Lawrence of Arabia," clearing the way for fellow RADA graduate Peter O'Toole to take what became a career-defining role. But stardom came to Finney anyway in "Tom Jones" where he won over audiences worldwide with his good-natured, funny and sensual portrayal of an 18th-century English rogue. That was the role that introduced Finney to American audiences, and few would forget the lusty, blue-eyed leading man who helped the film win a Best Picture Oscar. Finney also earned his first Best Actor nomination for his efforts and the smash hit turned him into a Hollywood leading man. Director Tony Richardson said his goal for "Tom Jones" was simply to produce an enjoyable romp. "No social significance for once," he said. "No contemporary problems to lay bare. Just a lot of colorful, sexy fun." Finney had the good fortune to receive a healthy percentage of the profits from the surprise hit, giving him financial security while he was still in his 20s. "This is a man from very humble origins who became rich when he was very young," said Quentin Falk, author of an unauthorized biography of Finney. "It brought him a lot of side benefits. He's a man who likes to live as well as to act. He enjoys his fine wine and cigars. He's his own man, I find that rather admirable." The actor maintained a healthy skepticism about the British establishment and even turned down a knighthood when it was offered, declining to become Sir Albert. Finney once said he did not believe in such honors. "Maybe people in America think being a 'Sir' is a big deal," he said. "But I think we should all be misters together. I think the 'Sir' thing slightly perpetuates one of our diseases in England, which is snobbery. And it also helps keep us 'quaint,' which I'm not a great fan of." Instead of cashing in by taking lucrative film roles after "Tom Jones," Finney took a long sabbatical, traveling slowly through the United States, Mexico and the Pacific islands, then returned to the London stage to act in Shakespeare productions and other plays. He won wide acclaim and many awards before returning to film in 1967 to co-star with Audrey Hepburn in "Two for the Road." This was to be a familiar pattern, with Finney alternating between film work and stage productions in London and New York. Finney tackled Charles Dickens in "Scrooge" in 1970, then played Agatha Christie's super-sleuth Hercule Poirot in "Murder on the Orient Express" - earning his second Best Actor nomination- and even played a werewolf hunter in the cult film "Wolfen" in 1981. He earned more Best Actor Oscar nominations for his roles in the searing marital drama "Shoot the Moon" in 1982, co-starring with Diane Keaton, and "The Dresser" in 1983. He was nominated again in 1984 for his role as a self-destructive alcoholic in director John Huston's "Under the Volcano." Even during this extraordinary run of great roles, and his critically acclaimed television portrayal of the pope, Finney's life was not chronicled in People Weekly or other magazines, although the British press was fascinated with his marriage to the sultry French film star Anouk Aimee. He played in a series of smaller, independent films for a number of years before returning to prominence in 2000 as a southern lawyer in the film "Erin Brockovich," which starred Julia Roberts. The film helped introduce Finney to a new generation of moviegoers, and the chemistry between the aging lawyer and his young, aggressive assistant earned him yet another Oscar nomination, this time for Best Supporting Actor. His work also helped propel Roberts to her first Best Actress Oscar. Still, Finney declined to attend the Academy Awards ceremony - possibly damaging his chances at future wins by snubbing Hollywood's elite. He went on to star in director Tim Burton's "Big Fish" and portrayed Britain's wartime leader, Winston Churchill, in "The Gathering Storm." Finney also tried his hand at directing and producing and played a vital role in sustaining British theater. Finney is survived by his third wife, Pene, son Simon and two grandchildren. Funeral arrangements were not immediately known. 2/8/2019 9:50:28 AM (GMT -5:00)

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2005-11-22 Sovereign Bank Arena, Trenton, NJ Scheduled: 19:30 Local Start Time 20:23 / End Time 22:58 Final show of the tour - and with a few big surprises - not least a solo "Zero And Blind Terry", last played in 1974. "Fire" premieres. Patti Scialfa joins Bruce for another tour debut, "Mansion On The Hill" (the last song off Nebraska played on the tour, completing the album just in time). Finally, "Santa Claus Is Comin' To Town" makes an appearance, with 15+ family members on stage, bedecked in Santa hats. Piano songs are "Zero And Blind Terry", "Backstreets", "Drive All Night", "Jesus Was An Only Son", "Thundercrack", and "Santa Claus Is Comin' To Town". "Song For Orphans" has Bruce on guitar and Alan Fitzgerald on piano. "Born In The U.S.A.", "It's Hard To Be A Saint In The City", and "Fire" are with the bullet mic. "My Beautiful Reward" and "Dream Baby Dream" are on pump organ. "All That Heaven Will Allow" is on electric piano. "Growin' Up" is on ukulele. "Devils & Dust", "Reno", "The Rising", "Jesus Was An Only Son", and "The Promised Land" are all played; those five songs have appeared at every show on the Devils & Dust Tour, although "Reno" was not performed at the very first rehearsal show. Alan Fitzgerald (Guest) Patti Scialfa (Guest) Various (~15) Friends and Family (Guests) Evan Springsteen Jessica Springsteen Sam Springsteen BORN IN THE U.S.A. MY BEAUTIFUL REWARD DEVILS & DUST LONG TIME COMIN' ZERO AND BLIND TERRY BACKSTREETS IT'S HARD TO BE A SAINT IN THE CITY ALL THE WAY HOME MANSION ON THE HILL ALL THAT HEAVEN WILL ALLOW DRIVE ALL NIGHT FURTHER ON (UP THE ROAD) JESUS WAS AN ONLY SON SONG FOR ORPHANS MATAMOROS BANKS GROWIN' UP THUNDERCRACK DREAM BABY DREAM 2012-03-00 Sun National Bank Center, Trenton, NJ {"module":"wiki\/image\/FlickrGalleryModule","params":{"userName":"brucebase wiki","sort":"date-posted-desc","tagMode":"all","perPage":"50","tags":"November,22,2005"}} Official concert recording available for purchase in multiple formats, including CD and high definition audio, from Springsteen's official live download site at live.brucespringsteen.net. Running time: 2:34:34 Audience tape and DVD. There is also an IEM and a IEM/AUD matrix 'Kid Called Zero' (Conan/Producer) available for the show. DVD also circulates titled 'You'll Catch Zero And Terry in Trenton' (Blacklab). Concert was professionally filmed. Sorry no Storyteller available. SONGS OF HOPE AND ETERNAL DAMNATION If one were to assign a single attribute to every tour across Bruce Springsteen’s career, audacious would be an apt one for the 2005 Devils & Dust tour. Over the course of 72 shows, Bruce took the stage alone, surrounded by a phalanx of guitars and keyboards, fearlessly revisiting and reinterpreting every corner of his catalog down to the deepest nook and cranny. Be a song rarely or never played, or often played but never like this, night after night the Devils & Dust tour offered fascinating alternate readings of music we thought we knew inside-out. Bruce’s new album of the same name, his third solo record, was the jumping off point, full of character-driven stories that fit squarely into what he declares in Trenton are the two types of songs he knows how to write: songs of hope and songs of eternal damnation. Springsteen had an equally strong body of work in hand for his previous solo tour in support of The Ghost of Tom Joad, but in 1995-97, performing exclusively on guitar and harmonica, he was selective in what complementary tracks were added to the set. In fact, Bruce debuted a number of new original songs in the spirit of Joad over the course of that tour (some, admittedly, more lighthearted than the album, but still akin), while deep cuts were more selective. The addition of piano and keyboards in 2005 unlocked dozens of other songs for inclusion and opened up tour setlists to remarkable levels. Bruce’s approach suggested the new D&D material connected to everything that came before. In hindsight, there’s a sense of Springsteen on a mission to look back at his songwriting accomplishments and take many of them back out for a ride to see what they would reveal, an early hint perhaps of his budding autobiographical mindset. Without a doubt, the self-effacing candor and humor with which Springsteen addressed audiences on the tour are precursors to the voice he would come to refine for Springsteen on Broadway. Trenton 2005, the final show of the tour, captures all these aspects of the Devils & Dust journey wonderfully, with a setlist full of bold surprises and striking moments. It begins with Link Wray’s “Rumble,” a tribute to the electric guitar pioneer who helped shape the sound of rock ’n’ roll. On this night, however, acoustic guitar is the stringed instrument of choice, and we get several exceptional performances. The Rising’s “Empty Sky” gets a strong solo airing, played with thumping purpose and pace. “Saint in the City” is transformed by a radical slide guitar re-arrangement and bullet mic vocals. The song remains one man’s boastful declaration, and there’s still plenty of heat and humidity in the air, but the locale has moved from Shore towns to somewhere along the Mississippi Delta. The result couldn’t feel more different. Bruce is clearly enamored with the approach and walks “Fire” down the same bluesy backporch path, with the bullet microphone giving the song a fitting AM-radio filter. Reimagination is a touchstone all evening, and the next subject is “All the Way Home.” The solo acoustic rendition on the 2005 tour recalls demos for The River, sharing the spirit of Bruce’s 1979 compositions and the Power Station band version that could have been. Material from Devils & Dust holds its own in such company, with well-honed versions of the title track, “Long Time Comin’,” “Matamoros Banks,” and a beautifully sung “Leah.” He even pulls out a ukulele for a sing-along rendition of “Growin’ Up” towards the end of the set. Springsteen’s keyboard playing, always carrying with it a seductive hint of performance anxiety, is one of the most memorable aspects of the 2005 tour. His willingness to take the risk again and again on songs he hadn’t played in decades is why Audacious is such an appropriate descriptor. After a lovely and lilting electric piano version of “All That Heaven Will Allow” (the same instrument on which he so memorably performed “Tunnel of Love” on the previously released Grand Rapids 2005 show), Bruce acknowledges his tentative playing, telling the Trenton faithful that their applause at end of his piano solos was “anxiety clapping” that “he made it through.” In truth, the passion in Springsteen’s piano and organ playing is much more important than the precision. Limited as he might feel it is, his keyboard expression creates intimate moments between the performer and audience heightened by that touch of uncertainty. Trenton offers a treasure trove of piano, organ, and keyboard gems. Bruce resurrects “My Beautiful Reward” from Lucky Town with fitting majesty on pump organ and plays “Backstreets” with touching reverence, in one of but three solo piano performances on the tour. “Drive All Night,” revived for the first time in 24 years just a few shows prior, captures the conviction of an artist rediscovering the magic of a forgotten work. “Jesus Was an Only Son” gets an insightful preamble that is right out of the pages of Born to Run. And who could imagine the three-ring circus that is “Thundercrack” could be tamed into such an entertaining solo-piano rendition and still carry the song’s evocative spirit. For veteran setlist trainspotters, Trenton has a couple of bombshells. One of Springsteen’s most beloved early outtakes, “Zero and Blind Terry,” had not been performed since 1974 and never as a solo piano piece. It’s one of those romantic fairy tales that could have easily slipped onto Wild & Innocent, a Jersey fable that mythologizes young lovers trying to escape to a better life beyond Route 9. All the more fitting for a show in Trenton, but the idea that the song would be played at all, three decades after it wasn’t released, affirms the Devils & Dust tour mantra: I do not play these songs often. I have not played them on this instrument. I may not play them this way again. The other shocker debuted the night before but is no less special. After hearing it himself on E Street Radio and thinking, “Hey, that one was pretty good,” Springsteen reignited “Song for Orphans,” not heard since 1973. Collectors know it from a demo recording that predates Greetings From Asbury Park, N.J., the album for which it was initially considered, though there is evidence to suggest Bruce considered the song for possible release all the way through Born to Run. Here, joined by his otherwise off-stage keyboard accompanist Alan Fitzgerald on piano, Springsteen manages to blend the spirit of ’72 with ’05, rendering “Song for Orphans” and his most recent Devils & Dust material kindred works. After some fun had with members of the extended Springsteen family on “Santa Claus is Comin’ to Town” and the Joad-tour arrangement of “The Promised Land,” Trenton comes to its pump organ epilogue. The meditative “Dream Baby Dream” provided the coda to most shows on the Devils & Dust tour and has no analogue in Springsteen performance history, as it builds wave upon wave of organ, synthesizer, and repeated vocal lines imploring us to “keep on dreaming” and “open up our hearts.” That it wouldn’t sound out of place over the end credits to a David Lynch film speaks to its peculiar and relentless brilliance. Trenton 2005 is both the final show and the perfect summation of the Devils & Dust tour, when Springsteen chose night after night to go “cartwheelin’ up on that tightrope.” By Erik Flannigan via Nugs.net. 2005224athwaatwhaudiobackstreetsbitusabootlegbrucespringsteendaddandbdemptyskyfirefoutrgiggrowinupguesthandwritteniemihtbasitcjwaosleahlivedlltcmatamorosbanksmbrmothnewjersey(nj)newsnovemberpremrenorumblescicttsetlistsfosovereignbankarenatherisingthundercracktickettour_ddtpltrentonusazabt

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« Study: Higher Birth Weight Correlates to Better School Performance | Main | Head Start Grants, Private Commitments to Boost Early-Childhood Programs » Eighteen States Win $250 Million in Preschool Development Grants By Christina Samuels on December 10, 2014 6:28 AM Half of the 36 states that applied for federal money to launch or expand preschool programs have been awarded a total of $250 million in an early-childhood initiative jointly administered by the the U.S. departments of Education and Health and Human Serivces. The announcement comes as part of a series of events Wednesday at the White House designed to drum up support for early learning. That will also include awards of $500 million from HHS to support partnerships between child-care centers and Early Head Start providers; and a commitment of more than $300 million from private groups to increase their philanthropy in the early-learning arena. UPDATE: In a Wednesday press conference, President Barack Obama lauded the philanthropic efforts that have been brought together under the umbrella of the new initiative called "Invest in US." They include a $10 million commitment from foundations, schools, and businesses in Ohio's Cuyahoga County, which includes the city of Cleveland, and a $15 million investment from Susan A. Buffett and Partners to expand services in Omaha, Neb. "I'm calling on all Americans across the country to make their own commitments to children," Obama said. The $250 million comes from the Preschool Development Grant program, which was funded as part of a budget deal agreed to in January. Five states—Alabama, Arizona, Hawaii, Montana and Nevada—are receiving grants worth from $2 million to $20 million under a part of the program designated for state programs just getting off the ground. Those states have 10 percent or fewer of their students enrolled in state-funded preschool. The remaining grant money is going to states that already serve 10 percent or more of their 4-year-olds. Six of those states are previous winners of Race to the Top-Early Learning Challenge grants: Illinois, Maryland, Massachusetts, New Jersey, Rhode Island, and Vermont. Seven winners have not previously received federal funding for preschool: Arkansas, Connecticut, Louisiana, Maine, New York, Tennessee, and Virginia. The grants for those states range from $2 million to nearly $25 million. The Education Department estimates that because of the grant program, more than 33,000 additional children will be served in preschool programs that meet high-quality standards in the first year of the program. In a press call announcing the results, U.S. Secretary of Education Arne Duncan noted the interest in the preschool money from states that have Republican and Democratic leaders, (though the application process did expose testy political divides in some states). "What still haunts me is the huge unmet need in state after state after state," Duncan said. "While we're thrilled with the support from governors, we really need Congress to step up in a bipartisan way." Preschool Development Grants

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Week In Review – November 3, 2019! Because God is faithful to His Word and His people, more soldiers and LEOs died this week, by His power and His might. While speaking about oath-breakers and how God keeps them very busy – In Chicago apparently the hospitals can just turn away ambulances and nobody is overseeing these decisions = people dying!: https://projects.jsonline.com/news/2019/10/25/ambulance-diversion-overnight-illinois-hospitals-after-infants-death-deeply-flawed.html Even as fires are burning all around, in Long Beach, CA, (actually Orinda, near San Francisco) people having an UNAUTHORIZED house party in Airbnb location began shooting, and killing each other: https://twitter.com/i/events/1189431454045851648 leaving a total of FIVE dead: https://www.bbc.com/news/amp/world-us-canada-50276485?__twitter_impression=true Speaking of fires, did you see that a fire broke out at World Heritage site Shuri Castle in Okinawa, Japan?: https://www.nbcnews.com/news/world/fire-burns-down-structures-japan-s-historic-shuri-castle-n1074371 In Australia hazardous smoke from dozens of bushfires across the east coast blanketed Sydney causing much discomfort, and that city is home to more than FIVE MILLION PEOPLE: http://mercury.postlight.com/amp?url=http://news.trust.org/item/20191031002630-wywbj/&__twitter_impression=true Furthermore, (some) people are now certain that Jeffrey Epstein was MURDERED: https://www.nytimes.com/2019/10/30/nyregion/jeffrey-epstein-homicide-autopsy-michael-baden.html This week 12 migrants were found alive in a refrigerated truck in Belgium: https://news.sky.com/story/12-migrants-found-alive-in-refrigerated-truck-in-belgium-11849265 A multistate salmonella outbreak has sickened 10 people, killed one – – connected to ground beef: https://amp.cnn.com/cnn/2019/11/01/health/salmonella-ground-beef-recall/index.html?__twitter_impression=true Hong Kong is now in week #22 of weekend protests: https://www.youtube.com/watch?v=48H_gHWPJVM they burned Xinhua offices! Also it will be one year ago November 17 of the Yellow Vest Protests in France, they are going to hold a national assembly to debate “future of the movement”: https://www.thelocal.fr/20191102/french-yellow-vests-hold-national-assembly-to-debate-future-of-the-movement GodSmack! In Chicago a little 7-year-old was shot as they were out trick-or-treating by another young person engaged in a different form of idolatry known as gang violence: https://www.4029tv.com/article/7-year-old-critically-injured-after-being-shot-while-trick-or-treating-in-chicago/29660016# Jane Fonda, Rosanna Arquette, Catherine Keener were all amongst those arrested this Friday’s climate change protest: https://www.yahoo.com/entertainment/jane-fonda-rosanna-arquette-catherine-keener-arrested-at-climate-change-protest-183247830.html they’re starting to look a little (lot) frayed. O’Rourke ended his bid for POTUS: https://www.theguardian.com/us-news/video/2019/nov/02/orourke-ends-bid-to-be-democratic-presidential-nomination-video?utm_term=Autofeed&CMP=twt_b-gdnnews&utm_medium=Social&utm_source=Twitter#Echobox=1572693696 Praise God! A dyke was elected Bogota’s Mayor: https://amp.cnn.com/cnn/2019/11/02/world/claudia-lopez-bogota-mayor-intl/index.html?__twitter_impression=true That’s Co-l-uuuu-m-bia for ya! New Normal Section Washington Nationals have won the World Series and it only took them 95 years: https://abcnews.go.com/amp/US/washington-nationals-celebrate-world-series-win-dc-parade/story?id=66710600&__twitter_impression=true That just leaves seven other teams to never have won: https://theculturetrip.com/north-america/usa/articles/these-mlb-teams-have-never-won-the-world-series/ assuming you can believe anything anyone says about anything, these days. A new study found the weed-killing chemical glyphosate was found in an array of US-kid-focused products: https://amp.theguardian.com/environment/2018/aug/16/weedkiller-cereal-monsanto-roundup-childrens-food A football player “took a plea” of guilty to killing his pregnant cheerleader girlfriend: https://people.com/crime/indiana-teen-admits-killing-pregnant-cheerleader-girlfriend-17-i-took-her-life/?utm_medium=browser&utm_source=people.com&utm_content=20191031&utm_campaign=457003 Penn State apparently expects us to believe that they are going to thoroughly investigate new allegations against Jerry Sandusky: https://www.cnn.com/2019/10/31/us/sandusky-new-allegation/index.html?no-st=1572800407 We shall see. Ecclesiastes 8:11 Because sentence against an evil work is not executed speedily, therefore the heart of the sons of men is fully set in them to do evil. Week In Review – October 27, 2019! Week In Review – November 10, 2019!

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Results tagged ‘ ace from Japan ’ Fantasy Baseball Preview: Edwin Jackson, Erik Bedard, and Yu Darvish Edwin Jackson is young, durable, and has been a winner with 10-plus wins in each of the last four seasons. The solid track record begs the question why did so many teams pass on him. The 28-year-old hurler is now on his seventh Major League team and he hasn’t played for losers either. He went 5-2 down the stretch for the Cardinals last season, playing a role in the team’s World Series Championship. One of the hardest throwing hurlers in baseball, Jackson has improved his control over the years. His greatest weakness recently is that he is just too hittable. Even in his successful run with the Cardinals the opposition hit .300 against him. The good news is that he keeps the ball in the yards, but for fantasy managers looking for a low WHIP, Jackson is not a solution. The move to Washington means he’ll now don the jersey for his sixth team over the last four years. However, Bloomberg Sports likes his fantasy value. The larger ballpark and National League setting should translate to 170 strikeouts, double-digit wins, and a 4.21 ERA. Jackson is a fine low-risk, high ceiling option in the later rounds of fantasy drafts. After all, it was just a few years back that he threw a no-hitter while pitching for the Arizona Diamondbacks. Let’s see if he can finally sustain such dominance over a full season. Once one of the hurlers in the most demand in the Major Leagues, Erik Bedard hopes to build on his improvement from last season while joining the Pittsburgh Pirates. Bedard was a disaster in Seattle. Because of injuries, he never lived up to the hype and while the Mariners traded away top prospect Adam Jones to the Orioles for him, they ended up letting him go for very little in return last season to the Red Sox. The good news is that Bedard showed that even after all of the injury-ravaged seasons, he still has some potential right now. He offered fine control last season and fanned a batter per inning throughout the year. A move to Pittsburgh should lead to some good results for Bedard’s fantasy managers. Pittsburgh’s ballpark plays neutral and he will no longer have to deal with designated hitters in the majority of his starts. Most importantly, he has sustained his health, which is the key to his performance. BloombergSports.com projects a solid 3.74 ERA and 1 .30 WHIP from the veteran hurler this season, and with some luck he could reach double-digit wins for the first time in five years. The loss of CJ Wilson could be crushing to the Texas Rangers. Just a year removed from a second World Series, the Rangers lost their ace for a second time. First it was Cliff Lee who bolted to rejoin the Phillies. Now it’s Wilson, and while he may not be as dominant as Lee, the fact that he joins the rival LA Angels of Anaheim makes matters worse. The Rangers were desperate to respond and without many proven stars on the market they had to compete with teams including the Toronto Blue Jays to land Yu Darvish, an ace from Japan. With an enormous bid, the Rangers land the hard-throwing hurler who will enjoy the loftiest expectations by a free agent to join the Rangers perhaps since Alex Rodriguez signed his now infamous $252 million deal. As far as realistic projections for Darvish, BloombergSports.com offers a 13-8 record, 185 strikeouts, and a 3.63 ERA for the hard-throwing hurler. That makes him the 16th best starting pitcher, and a top-50 fantasy talent. Despite the lofty projections, there is still a great deal of risk for fantasy managers. After all, Darvish is new to America and will have to adapt culturally to Major League Baseball, plus he calls home to one of the most hitter-friendly parks in the league. He will not get away with many mistakes and the media will be hounding him all season long. For more fantasy baseball insight visit BloombergSports.com. Tags: $252 million deal, ace from Japan, Alex Rodriguez, Arizona Diamondbacks, baseball, Bedard, Bloomberg Sports, Cardinals, CJ Wilson, Cliff Lee, Designated Hitters, Edwin Jackson, Erik Bedard, fantasy baseball insight, fantasy drafts, fantasy managers, fantasy value, hurlers, injuries, LA Angels of Anaheim, Major League Baseball, Major Leagues, Mariners, National League, no-hitter, Orioles, Phillies, pitcher-friendly ballpark, Pittsburgh, Pittsburgh Pirates, Red Sox, Seattle, Texas Rangers, top prospect Adam Jones, Toronto Blue Jays, Washington, WHIP, World Series, Yu Darvish

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Modern Chapel is a community of some 8,000 people but, as one would expect in a town with a history which stretches across seven centuries, a substantial Old Town survives its core. Old stone houses cling to the hillside below the Parish Church, which occupies the sire of the original thirteenth century chapel, and ancient inns are clustered about the Market Place as evident of the town’s historic role as a market centre and staging post. Old Chapel is one of the Peak District's best kept secrets, for it is largely hidden from the view of passing motorists. The oldest part of the town is on rising land behind the main road and even the Market Place is raised above street level. On you next visit to the Peak District, pause in Chapel-en-le-Frith, and discover the fascinating old buildings and picturesque streets and alleyways in the Old Town of Chapel-en-le-Frith. A free copy of the Town Trail can be obtained in the Information Centre at the Town Hall. Alternatively download the trial below. The tour of Chapel-en-le-Frith’s “Old Town” The trail begins at the CAR PARK on Thornbrook Road. Follow Thornbrook Road to its junction with the main road (Market Street). Cross to the north side of the street and walk up the hill towards the Market Place. Town Trail.pdf Thornbrook Road Car Park, Chapel-en-le-Frith, High Peak, Derbyshire SK23, UK

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by Marisol Torres | Oct 31, 2018 | News | 0 comments Today, November 30th, 2011, will be marked as a historic date in the legal and social life of Quintana Roo, as though almost unnoticed and barely mentioned in the media, were held the first two marriages between same sex persons and more interesting is that these marriages were made without making any changes to existing legislation in the State. Here is a brief analysis of this interesting event. The marriage rules and the management of vital records is a local faculty, so that each State’s Office has its own civil code and it’s own vital records. The Federal District (Mexico City), although not a state, by constitutional provision allows it’s legislature to regulate civil matters and operate it’s own vital records office. Based on these ideas is that Mexico City was undertaken in 2010 to reform its civil code language that would speak more of “people” rather than “men” and “women”, were also made some adjustments to the Civil Registry certificates and in general all the ground was prepared to initiate such unions in a harmonious and consistent way, through a process that required time, discussions and a lot of study for implementation. Quintana Roo was in a different situation, for years, there have been voices that rising up to ask to allow same-sex-marriages in this state, not only for the respect and recognition of the civil liberties of people equally, but also must be said, for the economic flow that these unions can bring to the state, considering the natural tourism vocation of Quintana Roo. The Civil Code of Quintana Roo is one of the most recent of the country, dating from 1980. When developed, the local congressmen tried to integrate some new ideas and trends that existed at that time; however, the work was not entirely harmonious, the legislature on the one hand tried to be innovative and on the other, copied literally, a large number of articles of the Federal Civil Code in force in those years, so that this legislative technique favored same gender marriages. Thus, the local code contains requirements that the man must comply with and on the other side, requirements that must meet the woman must comply with for marriage, but nowhere states that the marriage has to be between a man and a woman. So why have there never been same sex marriages before? Perhaps because no one tried before or those who tried were met with refusal by the authorities. Thus a group of people formed by two same-sex couples wishing to marry each other, lawyers, activists and pro gay and lesbian organizations took on the endeavor of enacting the first record of a marriage between two persons of the same sex and held by an authority of Quintana Roo. How did they do it? Apparently the couple completed the application process for their marriage in compliance with all requirements of law, although their application was rejected or not even accepted at least twice. Then they tried again in the municipality of Lázaro Cárdenas, invoking the legal principle that states “the governed can do anything that is not prohibited” in accordance with article 1st of the Mexican Constitution which prohibits discrimination against people because of their gender and their preferences, in addition to the penalties imposed by the local criminal law for those who commit acts of discrimination. Obviously all these rules were already there, just needed someone to put them together, make use of them and find an authority with a legal criterion broad enough to understand, accept and process a request of this type. For the relevance of this theme, the celebration of these marriages was hardly announced and somewhat surprising, we have to remember that Quintana Roo is an entity where legislators recently decided that anyone who commits abortion should be punished and treated like a murderer, making it difficult to believe that legislators and authorities with this type of criterion will so easily accept marriages between same sex persons. The truth is that the first two records are there and a road on this subject has been started to be built, but there is still a long way to go. It will be interesting reactions and statements of authorities, public characters and social groups in the next few days on this topic. For now, congratulations to the new spouses and let’s hope that the discussions to come flow in an environment of respect, tolerance and solid and intelligent arguments. About the author Gustavo Calderón: Gustavo Calderón, is a Lawyer and University Professor in Playa del Carmen, Mexico, with more than 10 years of experience in Corporate Law and Real Estate Law. Mr. Calderón focuses his practice towards serving the expatriate population of the Riviera Maya.

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Three Gorges Dam Back in the Spotlight by David Bandurski | Jul 7, 2019 The Three Gorges Project, the gravity dam and hydroelectric power station on the Yangtze River that is currently the world’s largest power station, is back in the news in China. And state-run media are pushing to reassure the public that the dam is safe. So why is this becoming an issue now? In recent days, posts on social media have suggested satellite imagery of the mega-structure now shows that it is warping, calling into question its structural integrity. Other posts have reported so far unsubstantiated claims that authorities have halted tours to the area. The post to the right-hand side above reads: “Comparing images from 2007 to 2018, it can be confirmed that the Three Gorges Dam has experienced serious warping.” The lower post on the left-hand side reads: “Terrifying! Expert team from the Three Gorges Dam has confirmed that the dam has changed shape!” This second social media post actually refers to efforts by the authorities to counter discussion about possible problems with the project. It shares an image of coverage yesterday from The Beijing News. The apparent point of the article in The Beijing News was to urge calm, citing a team of experts who certify that the project is safe, and that “the warping of the dam’s shape owes to its elasticity” (坝体变形处于弹性状态). The report was based entirely on a public relations release from the state-run China Three Gorges Corporation(中国长江三峡集团有限公司), which explained that the project had undergone regular safety inspections since the formation of its safety inspection team in 1999. The release even included an image of the log books published annually to document the dam’s operation. Clearly, not all have been comforted by the affirmation from experts that the dam warps because of its “elasticity.” And part of the problem may be mixed messaging as the government tries to contain speculation. According to other official statements circulating after the story began trending around July 1, the inaccuracy of satellite imagery from Google, which is blocked in China, is the source of the misunderstanding. On July 2, an official speaking with the Shanghai-based news outlet The Paper said that the satellite imagery circulating online had been generated from Google, and was a product of Google algorithms rather than a reliable and accurate image of the Three Gorges project. According to a report on the website of The Observer (guancha.cn), the official said that “the topography of the Three Gorges region shown on Google Maps often shows inaccuracies, because ‘the coordinates have been processed.'” Naturally, given the fact that the Three Gorges has for some stood as a point of pride and a symbol of China’s technological and engineering prowess, accusations are also surfacing that the whole focus on the Three Gorges Project over the past five days has been a conspiracy cooked up by “anti-China forces.” “Once Again Certain People Cause Trouble Over the Three Gorges Dam,” reads the headline of the following post. It goes on to say that, “[We] must forcefully strike the faces of anti-China forces(反华分子), building a sturdy dam against public opinion in society.” In other words, the discussion itself is the problem that needs fixing. Throughout its history — and we are now at the centennial, we might note, of the first mention of the project by Dr. Sun Yat-sen in 1919 — the Three Gorges Dam has been a source of controversy. And at no point since the project’s construction got underway in the 1980s has discussion of the possible implications in terms of environmental or human cost been truly possible. For a look at the history of that discussion, we can recommend our 2015 piece by author Xiao Shu, and of course also Dai Qing’s groundbreaking work Yangtze! Yangtze!, published in 1989. It is interesting to see this latest surge in interest inside China in a project that deserves a great deal more discussion. But this will almost certainly be a short-lived discussion — a momentary breach of the dam. (Featured image by Michael Gwyther-Jones available at Flickr.com under Creative Commons license.) PreviousXi Jinping, Leader of the G20 NextHong Kong Through China’s Distorted Lens Chang Ping: Does China Need a Special Internet Zone? Zhai Minglei on Google and China

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Church workers fight fear, myths as Ebola worsens in Sierra Leone By Bronwen Dachs • Catholic News Service • Posted August 1, 2014 CAPE TOWN, South Africa (CNS) — It is hard for people in Sierra Leone not to lose hope as the death toll rises and worldwide fear grows over the worst Ebola outbreak on record, said the head of Caritas in the Archdiocese of Freetown, Sierra Leone. “Our situation is desperate,” said Father Peter Konteh, executive director of Caritas. In a July 30 telephone interview from Freetown, Father Konteh said the mood of the West African country was bleak following the July 29 death of the doctor who had been leading the country’s fight against the highly contagious disease. The Ebola death of Dr. Sheik Umar Khan, who worked at the Kenema Government Hospital in eastern Sierra Leone, “has left us feeling defenseless,” Father Konteh said, noting that the hospital center Khan ran “is the only place in the country equipped to deal with Ebola.” Sierra Leone declared a state of emergency July 31 and called in troops to quarantine Ebola patients as the death toll from the outbreak of the virus hit 729 in the West African countries of Guinea, Liberia and Sierra Leone. Symptoms of the disease, which has no known cure, include vomiting, diarrhea and internal and external bleeding. The fatality rate of the current outbreak is around 60 percent. Fear among local people that if they go to the hospital “they won’t come out again” is largely fueled by the fact that the bodies of people who die of Ebola in hospitals “are put into bags and buried, and their loved ones don’t see them again; there is no burial ceremony,” Father Konteh said. Michael Stulman, regional information officer for the U.S. bishops’ Catholic Relief Services, said cultural traditions, including the washing of a body by family members before it is buried, are problematic in fighting the spread of Ebola, because the disease is at its most contagious in its advanced stages. In a July 31 telephone interview from Freetown, Stulman said dispelling myths that are worsening the crisis forms a large part of the work that Catholic Relief Services is doing in Sierra Leone. CRS staffers are training elders and traditional leaders to enable them to spread information on how to avoid contracting the virus and “what to do if they feel sick,” said Stulman, who visited Sierra Leone July 24-Aug. 1. CRS, part of the Caritas network, has been working closely with Sierra Leone’s National Ebola Task Force on awareness-raising campaigns, using radio and other mediums to disseminate critical messages about prevention, transmission and treatment of the disease. Father Konteh represents the Catholic Church on the task force. He said that at the Caritas office in Freetown, “we give people chlorine to wash their hands with” as well as information leaflets. “It’s a case of simple hygiene,” he said, noting that an interreligious forum issued a statement to dispel myths “spread by religious fanatics saying it’s a plague and calling on people to come to prayer centers they’ve set up instead of health care facilities.” CRS also had to clarify the nature of Ebola to people who believe that the hospital deaths are the result of a political plot by anti-government forces, Stulman said. Father Konteh said government, religious leaders and civil society now recognize that Ebola is a “national catastrophe” and are working together to stop its spread. Reacting to fear among doctors and nurses of contracting Ebola while at work, the health department has stepped up provision of protective gear for staff at hospitals, he said. Patients diagnosed with Ebola who are removed from hospitals by their families before they have recovered are cause for great concern, Stulman said, noting that a woman taken home to Freetown from Kenema hospital died in the ambulance on her way back. “The fastest you can get from here to Kenema hospital by road is two days,” Father Konteh said, noting that Freetown’s hospital does not have the necessary equipment to treat Ebola. “Our health system is not strong enough to cope with this,” he said. Sierra Leone’s health system has limited supplies and minimal human resources, Stulman said. He also said that while many international organizations are leaving Sierra Leone for fear of contracting Ebola and the U.S. Peace Corps is evacuating hundreds of its volunteers in affected countries, CRS has no plans to leave. “We’re sticking around,” Stulman said, noting that CRS has been working “on the frontlines” in Sierra Leone for more than 50 years and has built strong partnerships with local organizations. Father Konteh said Ebola has had “ripple effects on all interactions.” Many people’s livelihoods depend on trading at big market places, “but they are staying away now,” he said. In eastern Sierra Leone, some schools closed and postponed examinations indefinitely, he said. PREVIOUS: With focus on Gaza, Islamists can kill at will in Iraq, Anglican cleric says NEXT: Cleric blames surge of rapes in India on pornography, loss of values

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Music in Wales Artists in Wales World Music Artists in Wales Gwyneth Glyn Artists in Wales Welsh Artists Showcase Gwyneth Glyn Gwyneth Glyn is a singer and poet. Drawing on her ancient Welsh folk tradition as well as contemporary influences, her own unique sound is often described as timeless. Her songs are inspired by the ancestral stories she heard as a child, and by the dichotomy of being brought up in the rural north and living in the vibrant capital of Cardiff in the south. She read Philosophy and Theology at Jesus College, Oxford, before returning to her homeland of Wales to write and to sing. Her work includes plays, children's books and TV scripts. Gwyneth was Wales' National Poet Laureate for Children 2006-2007. She won the BBC Radio Cymru Rock and Pop award for best female artist in 2006. Her third album 'Cainc' was released in 2011. Music in Wales Womex Cardiff 2013 © Copyright Cerdd Cymru : Music Wales

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Buried Treasures: the Barbara Jordan Archives A look at the array of materials found in the Barbara Jordan Archives at Texas Southern University's Special Collections. About Barbara Jordan When Jordan was elected to the U.S. House of Representatives in 1972 she became the first African-American woman to represent a previously Confederate state in Congress. In 1976 Barbara Jordan became the first African-American Woman to deliver a keynote address at a political convention, and Jordan addressed the Democratic National Convention again in 1992—to date, Jordan is the only person to have delivered the keynote address at the DNC twice. As a member of the House Judiciary Committee, Jordan was in the national spotlight during the Watergate hearings that would eventually lead to the resignation of President Nixon. Her style of oration and clarity of vision on the issues made her potential as a presidential candidate a topic of conversation among liberals. In 1994 she was awarded the Presidential Medal of Freedom the nation's highest civilian honor. Despite her declining health she continued to teach and serve in public office including a post on the Presidential task force on immigration reform. Jordan died of pneumonia on January 17, 1996 at the Austin Diagnostic Medical Center. Jordan was eulogized by both President Clinton and former Texas Governor Ann Richards. On January 20, 1996, Barbara Jordan was buried at the Texas State Cemetery which is an honor reserved for Texas heroes. She is believed to be the first African-American to have been buried there. Happy birthday, Barbara Jordan National Prayer Breakfast Texas Southern University. Powered by Blogger. February 21, 2013, marks what would have been Jordan's 77th birthday. Though we are past the 76th year mile marker by one year, we thought it would be fun to mark the occasion with some rare images from Jordan's participation in the Constitutional Bicentennial (1776-1976) planning events. Jordan was active in fundraising and promotion for both national events and Texas state events for the Bicentennial. Below are images from Jordan addressing the House of Representatives in 1974 concerning the upcoming Bicentennial (including a rare color image of Jordan at the podium), and a shot of a 1976 commemorative medal given to Jordan and other Congressional members that is housed in the archives museum. Jordan addresses the House, September 24, 1974. The House adjourns, September 24, 1974 Commemorative Bicentennial medal, 1976 Posted by Barbara Jordan Archives at 6:55 AM 1 comment: Today is the 61st annual National Prayer Breakfast. The event, which is actually not just a breakfast but a series of meetings, luncheons, and dinners, was established in 1953 by President Eisenhower. The Breakfast is designed to be a forum for political, social, and business leaders to assemble and build relationships with each other. Every president since Eisenhower has spoken at the National Prayer Breakfast, and over the years the event has inspired many communities (civic, religious, and political) to hold similar events. Jordan attended the 1978 event (presided over by President Carter) and offered the Prayer for National Leaders. For more information on the National Prayer Breakfast, please visit http://www.waleadership.com/national-prayer-breakfast. This years's theme for Black History Month is "At the Crossroads of Freedom and Equality: The Emancipation Proclamation and the March on Washington." 2013 marks the 150th anniversary of both the signing of the Emancipation Proclamation by President Abraham Lincoln, and the 50th anniversary of the historic "March on Washington for Jobs and Freedom." The Association for the Study of African American Life and History (ASALH) developed this year's theme with the idea that these two events, so many years apart, are connected and converge under the common threads of freedom, equality and justice. TSU's Special Collections and the Barbara Jordan Archives have installed a few exhibits at the Robert J. Terry Library to celebrate Black History Month. Our exhibits (featuring books, documents, periodicals, newspaper articles and photographs from Special Collections) will remain on display through the month of February. Our main exhibit on the library's first floor features videos from the National Archives that discuss the role of the National Archives in preserving the history of both the Emancipation Proclamation and the March on Washington; one of the videos is a series of rarely-seen newsreel footage of the March, featuring music by Joan Baez and Marian Anderson, as well as footage of Dr. Martin Luther King's historic speech. We invite you to stop by the library to see the exhibits. For those of you who cannot come in person but would like to see the videos from the National Archives, please visit the links below: Preserving the Emancipation Proclamation The March on Washington in Photographs The March, part one The March, part two The March, part three Posted by Barbara Jordan Archives at 7:10 AM No comments: Association of Centers for the Study of Congress Women of the CBC--AVOICE

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Plein Air Easton, Part III July 29, 2008 | 2 Comments » Scroll down for part I and II or click here and here. Day Three, Saturday, July 26 Started the day with another spectacular gourmet breakfast at our “Buckingham Palace of Inns,” and then headed out to the streets to observe the “Quick Draw” event. Note to self: Next year bring art supplies and sign up for the “Quick Draw.” It looked to be a load of fun! To recap: The Quick Draw is quite a novel event to bring the art of plein air painting directly to the art lover. In Easton more than 130 artists, competition painters, professionals, amateurs, etc. had pre-registered and participated. These artists were then given two hours to complete their works within a three block area of the town. During this short time, all registered Quick Draw participants set up their supplies and paint, draw, or sculpt “en plein air” in downtown Easton, while hundreds of people stroll around and look in and ask questions. There were artists everywhere in this small Maryland jewel of a town! And they were not just painting the streets and beautiful houses and spaces around them! Painter Scott Powers, a young Chicago artist, was mesmerizing the crowd by delivering a portrait of a gentleman reading a paper in the shade of an Easton cafe. The crowd was hypnotized as Powers delivered a remarkable piece that not only captured the subject’s likeness, but also that key ingredient of great portraiture: the subject’s unique sense of individuality and self. How he managed to do that in two hours was a spectacular feat. We walked around for the two hours (I got a mean sunburn) and admired both the multitude of artists of all kinds of artistic skill, and also the multitudes of people admiring them. When the “finish” horn sounded at high noon, artists began filing down to Harrison Street, where they began to set up their easels to display (and sell) their just finished work. The paintings were then judged by Plein Air-Easton! Competition Judge Gay Faulkenberry and awards were presented at 1:30pm. By 2:00pm the exhibit and all of its paintings were gone from the streets of Easton. Once again I witnessed a near feeding frenzy as paintings were bought almost as soon as they were up on their easels. I would say that within the first five minutes about 50% of all the works had been sold, with works ranging in price from $250 to $2,000. By 2pm nearly all pieces were gone and heading to the home of a new collector. Larry Moore from Florida won the top prize at the competition and it was a well-deserved award - he was also my pick for the best piece in the show. I also quite liked Joe Meyer’s light-filled house (it also won an award), and Ken DeWaard’s piece. My wife and I then went biking around Easton (biking with my wife, who used to be a world-class triathlete before she retired from competition a few years ago, is like playing chess with Bobby Fisher) and then back to the Inn to get ready for my talk at the museum at 7PM. My talk had been advertised as a “new signature event that will embody Plein Air-Easton’s slogan ‘Art for Everyone.’ Campello, a respected artist and art critic with a flair for engaging his audiences with humor, will give a short history of art and discuss the knack of art collecting. This event will not be boring. Cocktails will be served and attendees can mingle and view the competition galleries. Seating is limited but Campello’s wit and wisdom can be heard throughout the Academy” and sort of like Richard Pryor once said, I thought to myself as I walked to the museum: “I better be funny.” The room was packed, with maybe 150-200 people, and I had expected to talk for about an hour as I gave them a little background on art history and then discussed collecting art and other associated issues. The audience was really good and I didn’t notice anyone falling asleep or leaving, and so when I glanced at my watch, and noticed that I had been talking for nearly two hours I was dumbfounded by both my ability to just talk and talk about art and by the audience’s resistance! So I ended it (I could have talked another hour, but I took pity on them), and surprisingly quite a few people came over and started asking questions and I spent another 20 minutes or so answering them… so I think that it went OK. My apologies for those who were late for other things because of my Castro-like performance. Next: the last day at Easton, with Winners Paint-Out and Brunch at Rich Neck Manor. Plein Air Easton Part II Scroll down for part I or click here. Day Two, Friday, July 25 After an amazing breakfast at our even more amazing Inn, we walked around town and dropped in at the Pam Foss Gallery, where we admired some of her paper casts before walking over next door to check out the installation effort, started last year by artists Carol Minarick and Mary Ann Schindler — with the help of gallerist Vivian Knapp — to provide a contemporary “shadow” exhibition to the plein air festival. This year they’re presenting an installation about the disappearances at sea of two men who have become mythical art figures. Mounted at Viviann Napp’s small gallery cottage at the corner of South Street and Talbot Lane in Easton, the installation is a seascape from another perspective. Combining contemporary paintings and actual nautical elements, including a naval architect-designed 1939 lapstrake dinghy from the Chesapeake Bay Maritime Museum, the work recalls the voyages of cult Dutch conceptual artist Bas Jan Ader and English inventor and would-be circumnavigator Donald Crowhurst. See a 1970s video by Bas Jan Ader here. It is an elegant and intelligent installation which is the first in what I hope are many new steps to expand the town’s intelligent approach to endorse the fine arts in general; Easton has a good thing going with the arts, kick-started by the hard working folks who put together the Plein Air Art Festival, and I hope that the city council continues to work hard to make this art event the seed for more and more fine arts in Easton. We also visited and chatted with the owner artists of the Sharp-Mayer Gallery, where we admired the works of owner Joe Meyer. Across the street we walked to the South Street Art Gallery where we ran into the familiar works of the talented NancyTankersley and sort of our first exposure to figurative art in her current series on chefs and restaurant workers. We also quite liked the work of old favorites Sara Linda Poly and Bethanne Kinsella Cople, two extraordinary landscape painters. 4th of July Sky by Bethanne Kinsella Cople At 7 PM that night we attended the Collectors Preview Party at the Academy Art Museum, where each of the plein air artists had two pieces for sale, and where the 2008 juror, artist Lynn Gertenbach Gay Faulkenberry (who graciously stepped in at the last minute because Gertenbach could not attend) would later select the 2008 award winners. Considering how I have been reporting the blues that seems to have hot the art market in 2008, let me tell you that this evening was almost like a feeding frenzy of art buying. Artists were able to replace work on the wall as it was sold, and I would estimate that around $100,000 worth of artwork was sold on this opening night, where collectors paid $150 in order to be there and have first choice at the available works. This was quite a refreshing change of pace from what I have been seeing in various art fairs so far this year, and while it is clear that the plein air painting niche is very specific on its genre, it is nonetheless a good shock to see artwork fly off the walls. It was also surprising for me to agree with about 75% of the award selections given out by the judge, although I did have a couple of major disagreements with a couple of her top choices. Nonetheless it is also unusual for me to agree to this extent with any juror, so in that particular vein we seemed to walk a parallel line. My choice for the top prize? Had I been the juror I would have given the top award to Bethanne Kinsella Cople’s beautiful landscape painting; her handling of light, application of paint, and experienced brushwork was the best that I saw that night. I also liked the works that I saw that night by Edward Cooper, Stuart White and Frankie Johnson. Part III will have the “Quick Draw” - More than 130 artists, competition painters, professionals, amateurs and the simply adventurous compete to paint, draw, sculpt and have fun in the sun. These artists have only two hours to complete their works within a three block area, then they are exhibited on easels, prizes are awarded and they’re up for sale! Plein Air Easton - Part I July 26, 2008 | No Comments » Day One, July 24, 2008 Sometimes writers are challenged on how best to begin to describe an event, in this case Plein Air Easton, which at first seems just focused on the re-emerging art of painting outside of the studio, but when examined in depth has grown to become not only very good at that, but also - on a wider scale - very good for art, for artists, for collectors, and for a picturesque little town on Maryland’s Eastern Shore. I had never been to Easton, Maryland before our arrival on a Thursday, July 24, as I had been invited to be a guest speaker as part of the 2008 Plein Air Easton festival. We decided to arrive a couple of days early, to soak in the whole experience of a little town taken over by a bunch of artists painting out in its streets and countryside. Our hosts had put us in at the Inn at 202 Dover, and I must admit that even for an experienced traveler such as I am, I was floored by the beauty, authenticity and elegance of this gorgeous 19th century historical house, recently refurbished and brought to spectacular modern glory by owners Shelby and Ron Mitchell. The place is breath-taking and the love of the Mitchell’s for their inn is apparent in the care and expense that they took to restore it. Restoration began in 2005, not only under the watchful eyes of the owners, but also of Historic Easton, the State of Maryland, the Easton’s Historic Commission, and the Department of Interior. Today the beautiful colonial revval building and gardens boasts four elegant suites and one luxury en suite bedroom, each themed and decorated accordingly. The Mitchells like the Victorian approach to decor, and invoking the Victorian era, the suites have an international flavor in keeping with the Victorian concept of what was exotic to them. Arrivals can expect to choose among France, Asia, England and Africa (Safari) suites or, the Victorian bedroom. We were given the Asian suite, which was larger than most New York apartments — in fact I think it was larger than the Brooklyn apartment in which I was raised. In addition to a beautiful huge bamboo canopy bed and Asian furniture, I loved the antique puppets and the original Ukiyo-e woodblocks on the walls. And the steam shower, and the cool air jet tub with the golden dragon spitting high pressure water, the fireplace, and the high definition flat screen TV with satellite TV - located… ahem… in the sitting room within our room. And free high speed internet access. But enough about this gorgeous place; suffice it to say that if you visit Easton, and want it to be a super special visit, this is the only place in town that will be a memorable stay! It gets a hundred stars and a thousand thumbs up from my wife and I. At 5:30PM on our first day we hung around for happy hour at the inn… and it didn’t disappoint, as Jorge Alvarez, the Inn’s Cuban-born chef popped in with some tasty food, which included what can be best described as my first exposure of the delicious results what happens when Southern cooking (let’s say fritters) meets Cuban food (let’s say WOW!). Afterwards we walked over to a local Easton restaurant called … ah… Restaurant Local, where we had some good happy hour vittles (Shrimp Fajitas and Calamari) on their sidewalk tables, listening to a local dude play the guitar, and you won’t believe this: a $5 pitcher of beer in a fancy restaurant! It was great, although we did have to teach our young Russian waiter what “seltzer water” was. We walked around town and saw several artists painting out on the streets, although it seems most of the 2008 artists were out in the gorgeous countryside. We also scoped out a couple of the town’s art galleries - more on that later, but overall the first afternoon and night was just an opportunity to walk around Easton, see a few galleries and a few artists here and there. Tomorrow the judging begins! On Collecting Art As a man who loves to talk, one of my favorite paid gigs is when I am invited to be a speaker at art functions, or for art groups, etc. Later this week I will be heading out to Plein Air Easton, where I will be one of the guest speakers for that city-wide art event. I am going to digress already from my title subject and give you a little background on Plein Air Easton. Just four years ago this event got started as many artists worldwide have begun to return to painting in the Plein Air style, and once again, as they did in 19th century Europe, are leaving their studios to paint and draw outside… on roadsides, on the beach, on top of mountains, in their gardens and yards, and even in city streets to capture landscapes, still life, figures and architecture in their natural elements. I think that the resurgence of this movement, much like it happened in Europe in the 19th century, may be a reaction by some artists to the overwhelming presence of technology in our daily lives. And I can live with that; there’s plenty of room for plein air painters and digital photographers and technogeeks artists in the art world. The festival started yesterday Monday, July 21 and goes through Sunday, July 27, 7:00am-5pm… but there are tons of associated events in this gorgeous and tiny Eastern Shore Maryland village. All the details are The festival goes from Monday, July 21 - Sunday, July 27, 7:00am-5pm… but there are tons of associated events in the gorgeous and tiny Maryland village. All the details are here. I will be speaking on Saturday, July 26th at 7PM at the Academy Art Museum on the subject of contemporary art, collecting, artists and art in general. In preparing some slides for the presentation, I wanted to address how beginning collectors may want to approach the first initial steps to the process, with the preconceived notion that many people are intimidated by art galleries. This is unfortunate, because perhaps the safest and best way to collect artwork is by establishing a good solid relationship with several reputable art dealers (never anchor all your art collecting efforts on a single art dealer). But there are other ways, complementary methods in some cases, which work as well to beginning to build an art collection. I think that one of the best and safest ways is via art auctions, and not just the major blue chip auction houses such as Sotheby’s, Christie’s and others, but nearly every other auction house on the planet that every once in a while offers art as part of their programs. I say “safe” with the caveat that for some folks, it is not a good idea to get caught in the frenzy of a live auction. So it is always best to set yourself a limit, register it with the auction house or event, and then leave and hope that your bid is a winner. I say “best” because depending on the type of auction, some spectacular deals can often be had. For example, in the Greater Washington, DC region there are a couple of very reputable auction houses which tend to focus generally on antiques and furniture, with a sprinkling of fine art here and there. In my experience, works by Washington Color School stripe painters can sometimes be had for a lot less than they would get in New York or LA. But by far the very best way to accomplish the same thing is via charity auctions. At a charity auction you’re doing a couple of good things; as they say, it’s a “win - win” situation. You are helping a good cause as well as acquiring artwork, and in some cases even helping the artist (some charity auctions give the artists a part of the proceeds). A good one is ARTcetera, which began in 1985 as a grassroots AIDS fundraiser, conceived by Boston-area artists to help in some way against the disease which was so directly affecting the artistic community. A year later the event became the biennial event that it remains today. Today ARTcetera is a “biennial creative black-tie contemporary art auction created and supported by a unique partnership between the visual arts community and AIDS Action Committee. Guests enjoy fine food and beverages and bid on more than three hundred fresh works by acclaimed local, national and international artists. An exciting live auction and two silent auctions present works in a variety of media, sizes, and styles.” There are literally thousands of these type art charity auctions all throughout the nation, and artists are among the most generous of donors to the many calls that we receive to donate artwork for them. In my own case, I can usually be counted to participate in about a dozen such events a year (including this one by the way). Many more tips on collecting art coming down this way later… A Tale of Two Cities: Anish Kapoor in Boston and New York. (Part 2: New York) July 20, 2008 | 1 Comment » In New York City, Anish Kapoor had two concurrent shows at Barbara Gladstone. Reflection, above, predominated in an almost achromatic space at the 24th Street gallery (the show remains up through August 15); red, below, at the new 21st Street location I first saw Anish Kapoor’s work in 1990 at the Venice Biennale. He was representing Britain, and his work filled that country’s “pavilion,” a small building that consists of gallery rooms. (Each represented country has a building of its own design that remains permanently on the ground of the Giardini, the gardens, where the Biennale is set.) There were a number of human-size sculptures, abstract forms all. Looking at my photographs from the exhibition reminds me that there was a room of carved stone blocks, about three feet in any direction, with voids of various sizes in their centers, so that as you peered in, you didn’t know just how deep or shallow the negative space was. There was a disc the diameter of an armspan covered in midnight blue pigment; you couldn’t tell if it was concave or convex and you didn’t want to get too close because of the powdered pigment on its surface. There were piles of that same midnight blue pigment, and I remember thinking, “Yves Klein at a spice market.” I’d never heard of this artist, but I responded to the simplicity and materiality of his work. Since then I’ve encountered his work, as I’m sure you have, with increasing frequency. The surfaces are always interesting; and more than most dimensional work, his forms challenge your spatial perceptions of dimension and direction. These concerns continue in two recent exhibitions at the Barbara Gladstone Galleries in New York City. Red predominated in Gladstone’s 24th Street “flagship” space (the show is now closed); reflection in the 21st Street space, where the show remains on view until August 15. Vertigo, 2008, 85 3/4 x 189 x 40 inches. The horizontal curve of mirror-polished stainless steel is compelling not only in its sleek form but in its distortion of the space and objects around it–big small, right side up, upside down. The only color in the gallery comes from the clothing of the visitors and the Exit sign In the 21st Street show, reflection deepens and alters the forms. There are four large, reflective stainless steel forms: a spindly cone, a tall rectangular block, a “cooling tower,” and a long horizontal curve that’s concave on the inside, convex on the outside. Your first impression is of the way they are placed within the space: the rectangular block is aligned with the spindle and tower to form a reverse arc in conversation with the curved form on the other side of the room. You are thus enclosed within the space of these four forms. It is a neat trick of placement. Their mirror-like surfaces alter your perception because you see not only the their form and the way they hold their part of the room, but the other sculptures that are reflected in them. Those reflections are distorted by the concave and convex surfaces, and they change as your position changes in relation to them. I visited this exhibition several times; the gallery was never crowded, but the degree of engagement was intense. The spindle (”Spire”), the block (”Door”), and the “cooling tower (”Pole”), are arranged in a sort of arc opposite the curved form. You are not only surrounded by the forms, you are distorted. That Giacometti-esque figure reflected in the tower is moi. It is particularly enjoyable to see jaded New Yorkers engaging with the work in such a physical way. Viewers move up close and then back up, watching their reflection change in the process, and they peek and peer into orifices. And, yes, these are New Yorkers, not tourists; they’re all wearing black (unless they’re from Brooklyn, in which case they’re dressed in anti-Manhattan garb, no black, which is to say they look like tourists.) And of course there are tourists, too. I noticed one scuff mark toward the base of one work. Given the way visitors are allowed to navigate freely around the work, I was surprised there weren’t more. I asked young man behind the desk if there had been any scrapes or scratches. “We have this chalky powder we rub on the surface and buff it a little bit,” he replied. Ah, polishing clay. Jewelry makers use it to get their metal surfaces up to a high shine. So even big sculptors and galleries depend on little tricks. At the “red” show in the gallery’s 24th Street location, how you approached the work made a huge difference in what you saw. Above and below, two views of Blood Stick, 2008, resin, 52.76 x 55.12 x 401.57 inches The “red” show at the 24th Street location, now down, had more of a narrative about the body, given the predominant color of the various forms. Blood Stick, the largest and most dramatic, is an accurate title. Creepy and compelling in equal measure, it beckoned and repelled. A fellow gallerygoer likened it to a club. I thought of a used tampon—life coming and going. The “cooling tower,” a form that also appeared in the 21st Street Gallery, is here split to reveal a blood-red interior. The opening is large enough to permit entry. What was pure form on 21st Street now has womb-like associations. Do you dare enter? A bulbous form hangs on the wall, weightier at the bottom. Called Drip, it suggests an enormous drop of blood ready to yield to gravity. Here for Alba, 2008, Fiberglass and paint, 110.38 x 109.06 x 118.11 inches. Below, a view into the center reflects the space outside Drip, 2008, resin and paint, 106 x 76 x 59 inches In a video about his work, Kapoor describes his process: “I’m going in a direction I’m interested in. But what I’m doing precisely, I do not know.” That’s as good a definition of the creative process as I’ve heard. In terms of the breath of ideas and materials, Kapoor is part of a triumvirate that would, for me, include Louise Bourgeois (subject of a just-opened retrospective at the Guggenheim), and Martin Puryear (subject of a recent retrospective at the Museum of Modern Art). Each of these sculptors, using a range of materials—some natural, some not— draws on elements from the collective unconscious (dark voids and spiders, for instance) or elements from our collective culture (domes, baskets, horns) and transforms them into vessels for navigation. Through them we may find our way between the known and the not-known, or the real and the illusory, or even shuttle between one level of thinking and another. Then again, to paraphrase Kapoor, they may simply carry us in a general direction whose destination remains something of a mystery. All photographs by the author. Art Santa Fe… and Art Basel Miami Beach I know that I had promised to report from Santa Fe, where last week I was wearing both my gallerist and artist hats at the Art Santa Fe art fair. However, the best laid plans of mice and art dealers often go awry when you arrive at your pristine white booth and the crates full of artwork await your unpacking, review and hanging. An art fair is a demanding event for an art dealer – there are the long hours on your feet, the science of hanging the work on the limited wall space, arguing with your partners as how and what to hang, and attempting to figure out what will best represent your gallery, dealing with the thousands of people, day after day, and hoping for the best return on the massive investment that participating in an art fair can be. And in spite of nearly flawless delivery by the organizers of Art Santa Fe – and kudos to them and to all art fair organizers; it is a complex and demanding job and I am always in awe of the people who organize it well – the fair was not a commercial success for most of the participants that talked to me. But the talk at the dealers’ break room and at the aisles was the same: low sales. Like any art fair, I am sure that some dealers did very well; however, I spoke with many gallerists who were very disappointed by the low sales and the crowd composition. “This is the worst Saturday that I’ve had in ten years of doing art fairs,” said to me a New York gallerist with a lot of fair experience. The fair started with a vernissage on Thursday evening. “Don’t expect sales to night,” warned a local gallery which had done Art Santa Fe several times. “Tonight is a social gathering and chances of making a sale are less than 1%.” A video of the grand opening, courtesy of Vernissage TV can be seen below: Unfortunately she was right, but for many spaces her prediction eventually applied to the entire four day event. As the last day approached several dealers confided in me that they had not made a sale yet. Sunday brought a few sales from that same sample group, but in low numbers. A British gallery only sold $900 worth of art in the entire fair, while an Asian gallery didn’t sell a single work the entire four days. A New York gallery that had sold a $2500 painting on the opening night (and thus hit that 1%) went through the entire next three days without a sale other than selling a catalog. last year they had sold seven paintings on Sunday alone. But on this Sunday the gallery assistant went to the break group, grabbed a couple of apples, and when he got back to his space, tossed one to his boss. “Thanks,” he said acidly, “that’s a $20,000 apple.” The low sales at Art Santa Fe appear to reflect anecdotal evidence that the art fair market has certainly put the brakes on. The fair organizers seemed to have done everything that was demanded of them to make the fair a success, although one local dealer commented that it was crazy to set the fair on the same weekend as the Fifth Annual International Folk Art Market,” the largest international folk art market in the world, an event which was taking place at the same time as Art Santa Fe. I’m not sure what, if any effect this had on the low sales experienced by most of the gallerists and dealers who confided in me, and in fact it seemed to me that if that other art event attracted (as I am told it does) collectors from all over the world, then perhaps some sort of complimentary ticket factor, where your ticket to the folk market gets you into Art Santa Fe, and viceversa, may have worked out wonders in adding some actual art buyers to both fairs’ visitors. Other than the curious fact that the art storage was closed and not manned during the fair’s hours of operation (so that if one had the rare sale and wanted to replace the sold work, then you had to fill a work order sheet to get someone to open storage in order to get a new piece for your booth), the fair organizers operated the complex chess game of running an art fair pretty well and deserve well-earned kudos for organizing it. One last thing, not just for Art Santa Fe organizers but for nearly all art fair organizers in the world: invest in a dozen community ladders that can be borrowed by the galleries as needed. It will make installation and deinstallation flow much smoother. Thus overall, in my impression the art fair was a commercial failure underscored by lack of significant sales by the majority of participants – the galleries which did well (and I am sure some small number did ) will probably return next year, but I suspect that Art Sata Fe 2009 will see a lot of new faces in a year. Money is not everything in the decision to participate in an art fair, but it is the most important factor. It is expensive to do an art fair, as booth costs are in the thousands and rapidly climb into the tens of thousands. Then there’s shipment costs, hotels, staff salaries, transportation and food. By the time that you add up all those costs, even the smallest booth often means investing more that $10,000, and if expand just a little, you can easily end up with a $20,000 apple… or $30,000 or… But another key factor in fair participation is exposure, and in this aspect our presence there was a successful one. In the crowds, although collectors seemed rare, artists were plentiful and tourists enjoyed the visual show, and we did manage to connect with two separate top notch collectors, and we hope that as we develop a relationship with them, that it will translate into some future sales. And the networking facet of this connection has many ramifications. Collectors with connections are possibly as important as a good sale. In one case of a collecting couple, he is not only a major photography collector about to become a collector of contemporary Cuban art (on the advise of his art advisors), but also he is on the board of a major American museum. He is very interested in acquiring some important pieces by some of the Cuban artists who we represent and we have begun a cyberspace dialogue with images, prices and details. His wife is a major collector of glass, and also on the board of a major school. At Art Santa Fe we exposed her to the groundbreaking work of Tim Tate and this may be the beginning of a long relationship. For a gallerist interested in promoting his artists to other markets and dealers, art fairs are also very good, and we were able to begin cementing a relationship with three separate galleries for one of our key artists, including his first gallery representation in the United Kingdom, as well as representation in Santa Fe and New York. And thus, although we didn’t sell a single piece of his work, we will now be working with him to get his work represented and exposed to Europe, New York and Santa Fe. There is a lesson in there somewhere as to why a good artist-gallery relationship often encompasses a lot more than sales. In this case the artist walks away with three new dealers, while the gallery walks away with a huge bill, but the good feeling of knowing that it helped the artist grow. As the artists grow, hopefully they will help the gallery grow. Networking and information exchange are good for business and gossip, and Art Santa Fe yielded some gems! Not only the overall feeling that American art fairs seem all to be doing fairly bad this year, and that the “brakes are on,” as far as the art fair market is concerned, but also that we may see an associated reduction in the number of fairs in 2009. We also heard some horror stories about some “hotel fairs.” And yet the Miami December art fair weekend, which in December 2008 hosted 22 separate art fairs, and in spite of seeing some of those fairs not return in 2009, will nonetheless have some new fairs in the schedule and I’m told around 25 art fairs will take place in the land of exiles, sun, sand and mojitos. One lovely Santa Fe evening we had dinner with some gallerists from Europe and the US, as well as a few other artsy folks - a fair organizer, a curator, an art magazine editor, and someone who has a business of constructing the booths at the fairs; all of them insiders into the fair scene and name-dropping, connected art nobility. It was lively conversation as arguments erupted about the art centers of the world, and the discussion of LA as future emerging art center for the developing marriage of art and technology. It was here that I dropped a bomb of a rumor that I have been hearing for months from people who do not want to be quoted. “I’ve been hearing a rumor that Art Basel Miami Beach may be pulling out of Miami Beach and relocating to Los Angeles,” I said. “Nonsense!” said a very, very connected curator from Miami. “ABMB and the city have a six year contract - ABMB is not going anywhere!” “I’ve heard the same thing,” said a magazine publisher from Los Angeles. “And,” added the art magazine publisher, “there’s only two years left on that contract anyway.” That info was backed by another person in the group, who also added that he thought that it was pretty much set that ABMB would be moving to LA after its contract with Miami Beach expires. “It will never happen,” said the vigorous defender of the Greater Miami area. “Miami is a magnet for Europeans in the winter, and the crossroads for Latin America, Europe and North America… people and collectors, want to go to Miami in December.” “That’s true,” replied her Californian tormentors, “but LA is the center point of the Latin American Pacific rim as well as Asia… and we have beaches as well.” And thus you heard it here first… several plugged-in insiders seem to verify what I’ve been hearing about for months: that the heart of the Miami art fairs phenomenom - Art Basel Miami Beach - may be, and I repeat, may be, pulling out of Miami Beach once its six year contract ends and ABMB may be moving the American version of the European fair to Los Angeles. The question then becomes: if ABMB does move to LA, will the other 25 satellite mini-art fairs follow ABMB to Los Angeles? Miami is not an easy place for art fair visitors to get around, but it is still a hundred times better to get around Miami than to get around LA trying to visit a dozen separate art fairs – not to even try to visit all 25 of them – in one weekend. ABLA may be able to re-create its ABMB success in Los Angeles, while at the same time shaking off many of the small satellite fairs that slowly but surely sprouted around it over the years. But it will – at least initially – be a lot less satellite fairs than ABMB and thus it may be a cool, calculated move by AB to reduce its competition for the stagnant collectors’ market by bringing them to a new pond with less competition. It is no secret that part of the success of most major art fairs like AB, ABMB, ARCO and others is that on their nickel they fly in and put up a most of the top 200 or so art collectors in the world – much like Vegas does with big gamblers. And because of this, these major collectors attract many other collectors and soon you have the core of the world’s collecting nobility at an event like ABMB. Some portion of those collectors will not only spend their Euros and dollars at ABMB, but also at the satellite fairs. Bring them to LA, shake off a few satellite fairs in the process, and the over saturation of available art is reduced, and more money is spent at ABMB and the few brave satellites that will follow AB to LA. I imagine that the LA city fathers and mothers are doing all they can to make the move to California irresistible for the AB people. Not only great incentives in potential location, city involvement, etc. but plausibly enough even in the creation of city ordinances and regulations which may make it impossible for a hotel fair to be organized. In austere financial times the need for drastic action rises to the top, and so I think that this combination of factors may be the reason that the rumored ABMB move to LA may be true. And if ABMB does become ABLA, what would that mean for the first weekend in December in Miami? If ABLA takes place on that weekend, things look grim for Miami. I believe that there still will be room for a few art fairs – after all the foundation has been set – but we will see a handful of them, not 25 on that December weekend. But I suspect that most of those fairs would follow AB out West. If ABLA takes place on some other timeframe, then perhaps the Miami December art fairs - a reduced number of them anyway – could possibly exist on their own, sans ABMB. We will see. For now we have to check our bank account to see if we can afford to get a booth in Miami this coming December. Art Santa Fe - Day One And so we flew in couple of days ago to beautiful New Mexico where I’m taking part in the Art Santa Fe art fair, and where we’ll be trying to find homes for lots of good artwork at the fair, which is being held this year from July 10-13, 2008 at El Museo Cultural de Santa Fe and right across the street from Site Santa Fe. After spending a day in Albuquerque, on Wednesday we checked into the fair and checked our booth spaces. The whole area around the fair site is a whirlwind of construction as new art sites, art buildings, etc. continue to populate this area of the city. At the fair, it was a beehive of work as shiipers unloaded crate after crate of artwork and gallerists from 19 countries checked in. All of our crates were waiting for us at booth 52, and right away I realized that (as usual) I had shipped too much work. In fact, I probably shipped about twice as much work as I should have. Somehow though, we hired Reed (an art installer) to help us open all the crates and begin hanging the work. Somehow everything was unpacked and then we had the crates removed. Because the storage area at the fair site didn’t open until 5 PM (memo to fair organizers, the storage site should be open and manned at all times), it was an interesting chess game moving around all the extra work while isolating what work to hang for the opening tonight. The press preview is today at 3:30PM, and then the grand private opening for collectors is an hour later. Keep checking in - there will be lots more later as I tell you how the opening gala went! Delia Brown: Precious — at D’Amelio Terras July 9, 2008 | 2 Comments » Delia Brown — Story Time — 2008 — 12 x 16 inches — oil on wood panel — from D’Amelio-Terras’ website As an artist who’s spent a lot of time in galleries, I’ve thought much about the need dealers have to position artists in relation to art collectors, and the effect this has on dealer and artist success. This leads me to consider collectors, their backgrounds, motivations, interests, tastes. They’re not a homogeneous block, obviously, so it only makes sense that an artist who’s seriously intent on commercial success should, like any conscientious marketing professional, consider a specific segment within that block and target their work toward that segment as sharply and specifically as possible, using any and all means. This came to mind, with quite a chuckle, when I visited D’Amelio-Terras late in June and pondered Delia Brown’s show, aptly titled Precious. Viewing these small panels from a distance, I felt as though I’d stepped out of Chelsea and into JC Penney’s home furnishings department, sans furnishings. The literature accompanying this show speaks of “the delicate decadence of the Rococo painters” and “Balthusian tension where innocence teeters on the cusp of naughtiness,” but I’m not buying it. With an MFA from UCLA, I have to believe Ms. Brown knows precisely what she’s doing here. These artworks are, in my opinion quite intentionally, executed in the slick, glowing and vacuous style of the manufactured oil paintings sold in shopping malls to people who neither know nor care about art, the crowd that’s made Thomas Kincade a ridiculously wealthy, powerful and Pooh-defiling man. But whereas Kincade’s work is designed for a decidedly middle-class, even Southern and Christian, crowd — see for example his painting NASCAR Thunder- The 50th Running of the Daytona 500 — Brown has targeted the upper middle-class and wealthy collector, obviously the kind more likely to amble into a Chelsea gallery. Much to my amusement, her marketing is even more refined than that; these are images of mothers and daughters, or images of young girls, but all designed to appeal to wealthy mothers. In every image, girls and their moms luxuriate in a world of satin sheets, high fashion (for the most part), pearls, pricey bathroom fixtures, primpy lapdogs and chi-chi bistros. It’s as if Ms. Brown has tapped into a market of wealthy mothers with absolutely no art sophistication whatsoever, who want mall-quality honey-dripping oil paintings that relate to their self-important, Mabelline lives. For me Brown’s project comes off as a brilliant ploy by a masterful artist with a broad, sophisticated understanding of art and society. Its conceptual component is heavily salted with the smiling sort of contempt that steams from the disenfranchised, and Brown’s feeding of these images to this market sounds more than a little like Tyler Durden’s “Fight Club” formula of selling wealthy women soap made from their own lyposuctioned fat. In the past, artists devised strategies to avoid commodification, often effacing and even removing aesthetic considerations in the process. It fascinates me to find an artist who makes commodification her plaything, and, aided by manifestly manipulative aesthetics, integrates it into a sweet yet caustic body of work. Art Santa Fe July 7, 2008 | No Comments » Early tomorrow morning I’m flying out to Art Santa Fe, where we will be participating as one of 59 galleries from 19 countries showcasing over 1,000 artists. I hope to be able to report from the fair and give you an insider’s view on the business of art from inside the art fair. The fair’s 2008 Keynote Speaker will be Dean Sobel, the Director of the new Clyfford Still Museum in Denver. If you’re in that gorgeous and amazing little sunny city full of art galleries (nearly 300 of them) known as Santa Fe between July 10-13, come by booth 52 and say hola!

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Climbing Mt. Whitney Since I last wrote, I've completed two semesters of school, gotten a job, made lots of friends, and been on a couple of vacations. One of those vacations was a trip last week to California for our Summer 2005 climb of Mt. Whitney, sponsored by BerkleyBar. Mt. Whitney, standing at 14,497 ft., is the tallest mountain in the continental United States. It's about 200 miles north of Los Angeles, on the border of Kings Canyon and Sequoia National Parks. I went to Whitney with my roommate Hyrum. He's a fairly avid hiker, and a few weeks after I moved in, he asked if I wanted to climb Whitney with him in the summer. It sounded like a lot of fun to me, so I agreed and he applied for the permit. Only 150 permits are issued per day, so not everyone who applies gets a permit. However, we were lucky and were assigned 21 July 2005. To prepare for the hike, I bought some new boots, a headlamp, and a few other things. I also trained physically. In the three weeks before the hike, I went up to the Y four times. I started from my apartment (near 800 N 100 W in Provo), biked to the Y trailhead, hiked up to the top left corner of the Y, and then ran down and biked home. It's a fun, but strenuous climb that takes about an hour, round trip. We left Provo at 5 a.m. on Wednesday, 20 July, and arrived in Lone Pine, California at 2 p.m. after an uneventful drive on U.S. Highway 6 across the Nevada desert. We drove through Humboldt National Forest without seeing a single tree except the handful that were planted at a "rest stop" in the middle of nowhere. The rest stop consisted of a gravel lot, a barbed wire fence, a trash can, and a couple of porta-potties. Nice. We spent the rest of Wednesday getting a camp site at Whitney Portal, mailing some post cards, setting up camp, and reading. We were in bed by 8 p.m., but didn't fall asleep for a while because of the heat. It was over 100 degrees Farenheit in Lone Pine, and probably 80 degrees at our camp site. We got up at 3 a.m. and were on the trail by 4 a.m. on Thursday. We wanted to get an early start to avoid being on the ridge line when the afternoon thunder storms hit. We made good time most of the day, passing a few people who had started at 2 a.m. The views were incredible. The trail follows streams for quite a while, so we got to see lots of flowers and plant life. There are a few lakes and meadows at pretty high elevations, which surprised me. It's cool to finish climbing a pretty steep section of the mountain and then find yourself in a beautiful mountain meadow with a gurgling stream flowing through the middle and majestic mountains on both sides. About seven miles into the hike we reached Trail Camp, where many people who do the hike in more than one day stay for the night. Trail Camp is in a large, flat-bottomed bowl, but after that are 99 (or so) switchbacks that lead up to Trail Crest, where you can see over the ridge into the next valley. Trail Camp is at about 12,000 ft., and by that point we could feel the effects of the thinner air. Neither of us got altitude sickness (thankfully!), but we took things a bit slower and rested a bit more. One really cool thing about the switchbacks is that there is a spring that runs straight down them, so we walked through water on each switchback. There were a few places where the water flowed under the rocks and would emerge a few turns higher up. We reached Trail Crest at about 10 a.m. and stopped for lunch (raspberry sweet rolls—yum!). There was a man resting there who must have been in his 60's who has climbed Whitney 107 times! He climbed the mountain for the first time in the 1950's with some friends because they heard that there was going to be a nuclear test and they wanted to see it. Sure enough, they were up there at the right time and saw a mushroom cloud off in the distance. After lunch we hit the trail again. The final two hours were a lot of work. We were at higher elevation, so we weren't quite as quick, and the trail was more up-and-down because we were on the ridge. Every step down was a step that we'd have to take back up again. We kept a close eye on the weather while we were on the ridge. It's very exposed, and there's no where to go if lightning strikes. Luckily, the weather stayed away while we were up there. We summitted at 11:48 a.m., exactly 7 hours and 48 minutes after we had started on the trail. The view from the top is pretty incredible. We saw a number of mountain lakes, valleys, sheer cliffs, and, of course, the surrounding Sierras. The weather at the top was pleasant, probably about 60 degrees, with a light breeze. We rested up there for a while and talked to some of the other hikers while enjoying delicious and nutritious BerkleyBars. The bad thing about hiking 11 miles up to the summit was that we had to hike 11 miles down to the trailhead. Of course, it's easier to go down than up, but it's still a lot of work. We left the summit at 12:30 p.m. We were glad when we finally reached Trail Crest, because that meant no more up-and-down. The last five miles about killed me. My feet hurt, my legs were tired, and we could see the road, but it didn't seem to get any closer. A thunderstorm hit when we were two or three miles from the trailhead. We didn't get too wet, but we were certainly glad that we weren't on the ridge then. We waited under a tree for a few minutes while pelting hail fell from the sky. We reached the trailhead at 6:36 p.m., for a round-trip time of 14:36. We hobbled over to the bear boxes, loaded our stuff into the car, and headed back down to Lone Pine. I had a nice, fatty, chicken bacon swiss burger for dinner. We stayed at a Super 8 in Bishop for the night and then headed home early the next morning. We had planned to wake up at 5 a.m., but we didn't get up until 6:30. We were tired. The trip to Whitney was a lot of fun. The climb itself was one of the more demanding things (physically) that I've done in my life, but it felt great to be on top. If I did it again, I'd probably stay at Trail Camp for the night and do the hike in two or three days. The views were beautiful, from the springs and streams to the snow masses to the ubiquitous little blue flowers to the breathtaking vistas on the summit. All of the images in the post are copyright 2005 Hyrum Wright. My panoramas from the summit Hyrum's hiking page Aerial photos of Mt. Whitney Word of the day: spelunking the practice of exploring caves. I got stuck in a cave the last time I went spelunking. Great post. I used this same page design when I had a blog... Good choice!

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Stagecoach MCSL - Chester & Wirral Depots - Printable Version +- Forum | Merseyside Dennis Dart Website (http://dartslf.com/forum) +-- Forum: Buses (/forumdisplay.php?fid=1) +--- Forum: Local Bus Scene: North West and Wales (/forumdisplay.php?fid=2) +--- Thread: Stagecoach MCSL - Chester & Wirral Depots (/showthread.php?tid=1427) Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 RE: Stagecoach Chester & Wirral - R879 HRF - 09/01/2014 09:57 Enviro 19018 is In for repaint and retrim. The others are to follow. RE: Stagecoach Chester & Wirral - busdude - 09/01/2014 16:34 Anybody know what the route amendments are to routes of 38, 41 & 42? (09/01/2014 16:34)busdude Wrote: Anybody know what the route amendments are to routes of 38, 41 & 42? An alteration of route 41/42 to Croft Retail Park (Bromborough) was mentioned along with the re-introduction of night services on the 41/42 corridor, and an extension of route 38 to Heswall from West Kirby and Croft Retail Park from New Ferry. Whether they actually decided to go ahead with any of it is another question. RE: Stagecoach Chester & Wirral - wirralbus - 09/01/2014 19:58 The 41 and 42 maybe a possibility via the Retail Park , any reintroduction of an evening service would mean that Avon getting another little shove from Stagecoach . ** Stagecoach beware of the monumental traffic gridlock this place suffers at certain times of the year **. 38 to Heswall would effectively seal the fate of the 22 if it had any future whatsoever after the X22 came into being. RE: Stagecoach Chester & Wirral - SNL 824 - 09/01/2014 21:47 (09/01/2014 19:58)wirralbus Wrote: The 41 and 42 maybe a possibility via the Retail Park , any reintroduction of an evening service would mean that Avon getting another little shove from Stagecoach . ** Stagecoach beware of the monumental traffic gridlock this place suffers at certain times of the year **. If it does extend to Heswall, I agree that would not help Avon's cause. But that would make it a monster meandering route. Why not complete the circle back to Bromborough via Clatterbridge and Spital. RE: Stagecoach Chester & Wirral - SF07 - 10/01/2014 23:19 Stagecoach are celebrating their 1st birthday since the takeover of First last year by offering unlimited travel on Sunday on all Stagecoach services in Chester and Wirral for £1. http://www.stagecoachbus.com/serviceupdatedetails.aspx?Id=9268 RE: Stagecoach Chester & Wirral - Penny Return - 11/01/2014 13:59 Believe every other 38 from new ferry will be extended to the croft,this will be good for cross wirral customers RE: Stagecoach Chester & Wirral - R557 ABA - 13/01/2014 11:47 (10/01/2014 23:19)SF07 Wrote: Stagecoach are celebrating their 1st birthday since the takeover of First last year by offering unlimited travel on Sunday on all Stagecoach services in Chester and Wirral for £1. Nice to see they failed to mention their £1 ticket wasn't valid on Merseytravel tendered services though. (13/01/2014 11:47)R557 ABA Wrote: Other than the early 141/142 services what other merseytravel contracts do they do on a Sunday ? (13/01/2014 14:18)wirralbus Wrote: Other than the early 141/142 services what other merseytravel contracts do they do on a Sunday ? They're the services I meant as I had to walk to Woodchurch to get the first bus of the day to Birkenhead to go towards Chester. Upon enquiring with customer services they say I should have been able to buy the day rider on the 141/142, it's not a big deal as I only had to pay £2.20 for a days travel in all.

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Densho Digital Repository Densho Digital Repository By Facility Using Materials in the DDR densho.org Yoichi "Cannon" Kitayama Nisei male. Born November 24, 1928, in Portland, Oregon. Grew up in Portland, where parents ran a hotel. During World War II, removed to the Portland Assembly Center, Oregon, and the Minidoka concentration camp, Idaho. After leaving camp, joined the military and served in Japan. Eventually returned to Portland. Yoichi "Cannon" Kitayama Interview — ddr-one-7-46 April 27, 2013. Portland, Oregon. 02:28:03 — 20 segments. http://ddr.densho.org/ddr-one-7-46/ © Densho, 2020. Terms of Use/Privacy Policy BACK TO TOP The text of this page is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Where indicated, images and other primary source materials may be subject to use restrictions by their respective rights holders. More information This material is based upon work assisted by a grant from the U.S. Department of the Interior, National Park Service. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the U.S. Department of the Interior. Visit Densho.org

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The Butler Scholarly Journal BIASFREE Themed Issues Mental Health and Disability Awareness War Issue Bob Dylan-Voice of his Generation and Late-Modernist Alien Although Bob Dylan is more often discussed as a musician, as the ‘song and dance man’ he once described himself as [1], his 2016 Nobel Prize Award draws attention to the literary qualities of his work. From the first publishing of his complete lyrics in The Lyrics 1961-2012 in 2016 to Christopher Ricks’ colossal book of criticism on Bob Dylan as lyricist, Dylan’s Visions of Sin, growing interest in his songs as forms of literature has brought both fruitful insights and a lot of confusion as to the status due this ambivalent figure. This article is not an attempt to… The problem with the Turner Prize: Deciphering criticism of Britain’s most prestigious art competition Ever since its conception in 1984 the Turner Prize has long been a source of controversy, both within and outside of the artistic sphere. Many specific works have provoked a strong public reaction; Tracey Emin’s bed, Damien’s Hurst’s formaldehyde shark and Anthea Hamilton’s recent sculpture, have all excited and appalled in equal measure. However, it is not the controversial nature of the pieces that will be discussed here, it is the debate surrounding the very nature of the prize itself. The right-wing press, particularly the Daily Mail, has long been critical of the prize. Quentin Letts, Mail correspondent, described this… Interview With An Artist: Alan O’Cain During the 2015-2016 academic year Alan O’Cain has been the artist/writer-in-residence shared between Josephine Butler College and St. Cuthbert’s Society. In this interview with Kiran Kaur he discusses ‘The Bikini Line’, an art installation created in collaboration with students, staff and SCRs from both colleges and situated in Durham Botanic Garden from 16th June to 25th July 2016. KK: What is the nature of the installation and what inspired it? AO: In 1946 a total of 167 inhabitants of Bikini Atoll in the Pacific Marshall Islands were relocated by the US Government in order to carry out nuclear bomb testing in the… The use of portraits as political tools in the courts of early modern Europe The infamous painting of Henry VIII by Hans Holbein is one of the best-known images in English history. Instantly recognisable in the modern era, the portrait successfully exemplifies the authority and power of the Tudor king. It still springs to mind at the mention of his name, five hundred years on from the painting’s completion. However, in the early modern period, portraits had political dimensions beyond that of mere representation. The Florentine humanist Leon Battista Alberti contended in the fifteenth-century that ‘painting possesses a truly divine power which…makes the absent present’. (1) Early modern portraits of sovereigns were employed precisely… The Emergence of Time Within the Spacial System of Comics To define the concept of emergence as ‘a process whereby larger entities, patterns, and regularities arise through interactions among smaller or simpler entities that themselves do not exhibit such properties’ (1) helps us to better understand print as Marshall McLuhan saw it: a fundamentally emergent technology. The new oil base for printing came ‘from the painters rather than the calligraphers’, and ‘the smaller cloth and wine presses embodied most of the features required by the printing press… the primary problems of innovation centered around the arts of engraving and casting…’ The goldsmiths and many others were needed to make up… The story behind ‘Cry for Justice– The Scream’ A large number of you will have seen or heard about Palatinate’s efforts to reveal the threefold budget spent on art in and around the new Palatinate centre on the science site. New additions to the university’s collection are worth £1.4 million, and include, amongst others, original works by the likes of Henry Moore, Pablo Picasso and Andy Warhol. These are largely on the ground floor and thus open to visiting students – in fact I would greatly recommend a stroll though – when else will you have a chance to explore a free art gallery by master artists, and… Art as an investment and other thoughts Attending the Butler Scholarly Journal Discussion Forum on the use of public art in universities was a provocative and invigorating experience which, it seems safe to say, certainly challenged some of the opinions originally held by a good number of those in attendance. I went to the event expecting, perhaps, to listen to a number of somewhat defensive talks intended to justify Durham University’s recent hotly contested £1.4 million spend on purchasing and installing works of art as part of the Gateway Development programme. However, the talks given by Durham University’s Dr Hazel Donkin (Department of Education) and Alan O’Cain… Is science an art? After attending the seminar on ‘art in Universities’ I found several points very interesting. The main topic that I would like to discuss is the question as whether science is an art. As a Natural Science student studying Physics and Earth Sciences I am quite opinionated on this issue. Obviously, this is a very controversial issue with no real right answer; however, I would like to argue the point that the arts and sciences are different topics by their definition. A very good point was made by a mathematician that maths is very linked to the arts. Many mathematical concepts… Art and Mathematics The link between mathematics and art can be divided into two sections: mathematics in art and art in mathematics. It is surprising how linked these two apparently distinct disciplines are. Firstly, let’s examine mathematics in art. This section can be further subdivided into the use of mathematics to create art and the presentation of mathematics in art. We will look at the former first. Mathematics appears in art from all periods. Take the Pyramids of ancient Egypt; by examining the proportions of the pyramids, one can find a golden ratio present. The golden ratio (approximately 1.618) appears in many unexpected… Fenwick Lawson’s ‘Cry for Justice- The Scream’ Emma Crosby Both speakers discussed Fenwick Lawson’s ‘Cry for Justice – The Scream’ sculpture, which sits between the Bill Bryson library and the Geography department. Prior to the speaker’s talks, I was far for the sculptures biggest fan. Although I was vaguely aware of its connections to the Vietnam War I felt that, due to the lack of information provided about the sculpture, it could easily be misinterpreted. I also felt that it was in an odd position in the University, as quite frankly the last thing a student wants to see after a long day in the library is… Twitter: @_BSjournal Butler JCR Design © Rupert Maspero 2020

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Neal v. Sherman United States District Court, C.D. California Julius Neal Present: The Honorable Shashi H. Kewalramani, United States Magistrate Judge CIVIL MINUTES-GENERAL Proceedings: (In Chambers) Order to Show Cause Why This Action Should Not be Dismissed Petitioner Julius Neal (“Petitioner”), proceeding pro se, signed and subsequently filed a Petition for Writ of Habeas Corpus by a Person in State Custody (“Petition” or “Pet.”) pursuant to 28 U.S.C. § 2254. Electronic Case Filing Number (“ECF No.”) 1, Pet. The Petition was filed in this Court on November 22, 2019. As best can be understood, the Petition raises two sentencing error claims. ECF No. 1, Pet. at 5, 7. Based on this Court's review of the Petition, it appears to have several problems. First, although Petitioner frames his claims as federal constitutional claims, at heart he is complaining about the sentences he received pursuant to California state law and apparently, his entitlement to parole. ECF No. 1, Pet. at 5, 7. Such claims are not cognizable under federal habeas law. Second, it does not appear that the current habeas petition was filed in a timely manner. As explained in more detail below, the Petition appears untimely because it was filed well after the one-year deadline under the Anti-Terrorism and Effective Death Penalty Act of 1996 (“AEDPA”). Lastly, Petitioner has neither claimed-nor is there any evidence to support-that he appealed to the highest state court regarding his claims to indicate exhaustion of state court proceedings. However, before this Court makes a final decision whether the matter can go forward, this Court will give Petitioner an opportunity to provide any information he may have regarding the timeliness of this Petition, his exhaustion efforts, and the merits of his claim. Therefore, this Court issues this Order to Show Cause (“OSC”) why this action should not be dismissed as untimely. Petitioner's response is required no later than January 4, 2020. II. BACKGROUND A. State Court Proceedings Petitioner alleges that he was convicted of several counts of attempted murder on May 7, 2008. ECF No. 1, Pet. at 1. The California Courts Case Information docket indicates that Petitioner filed a direct appeal in his case, which was denied by the California Court of Appeal on April 23, 2009. People v. Neal, California Court of Appeal No. B208022, http://appellatecases.courtinfo.ca.gov (last accessed on December 3, 2019)[1] His Petition for Review to the California Supreme Court, filed on May 27, 2009, was denied on July 8, 2009. People v. Neal, California Supreme Court No. S173139. The California Courts Case Information docket also indicates that Petitioner filed a state habeas corpus petition with the California Supreme Court on November 22, 2019, the nature of the claims being unclear at this juncture. In re Neal (Julius) on Habeas Corpus, California Supreme Court No. S259319. That case is currently pending. The Court finds no other entry on the state docket indicating that Petitioner filed any other collateral challenges to his judgment of conviction. B. Federal Court Proceedings On November 4, 2019, Petitioner constructively filed the pending federal Petition and asserted the previously described grounds for habeas relief. See Roberts v. Marshall, 627 F.3d 768, 770 n.1 (9th Cir. 2010) (noting that the “mailbox rule” allows a court to deem a pleading that is handed by a pro se litigant to prison authorities for mailing constructively “filed” on the date it is signed). III. DISCUSSION As discussed in more detail below, the Petition appears deficient because (1) it states claims that, on their face, are not cognizable under federal habeas law; (2) it appears untimely under the one-year statute of limitations; and (3) the claims in the Petition appear unexhausted. If Petitioner wishes to pursue these claims in federal court, ...

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Webb v. Acting Commissioner of Social Security United States District Court, N.D. California STELLA WEBB, Plaintiff, ACTING COMMISSIONER OF SOCIAL SECURITY, Defendant. ORDER ON CROSS-MOTIONS FOR SUMMARY JUDGMENT RE: DKT. NOS. 21, 22 SUSAN VAN KEULEN UNITED STATES MAGISTRATE JUDGE Stella Marie Webb (“Plaintiff”) appeals from the final decision of the Acting Commissioner of Social Security (“Commissioner”) denying her applications for disability insurance benefits under Title II and Title XVI of the Social Security Act. For the reasons discussed below, the Court remands this matter for further administrative proceedings. Plaintiff seeks disability benefits for the period April 10, 2010 through March 31, 2014. See Dkt. 15 (Administrative Record (“AR”)) 15, 17. An Administrative Law Judge (“ALJ”) held a hearing on September 25, 2017, at which Plaintiff and a vocational expert testified. See AR 32-78. On April 3, 2018, the ALJ issued an unfavorable decision. See AR 15-30. The ALJ found that Plaintiff had the following severe impairments: “congestive heart failure; obesity; substance addiction disorder; depressive disorder; and left ankle fracture.” AR 17. The ALJ concluded that Plaintiff did not have an impairment or combination of impairments that met or medically equaled one of the listed impairments. See AR 18. The ALJ then determined that Plaintiff had the residual functional capacity (“RFC”) to perform less than the full range of light work with various limitations. See AR 19. The ALJ concluded that Plaintiff was not disabled because she was capable of performing jobs that exist in the national economy, including those of an office helper, mail clerk, and cafeteria attendant. See AR 29. After the Appeals Council denied review, Plaintiff sought review in this Court. See generally Dkt. 1. In accordance with Civil Local Rule 16-5, the Parties filed cross-motions for summary judgment. See generally Dkts. 21, 22. All Parties have consented to the jurisdiction of a magistrate judge. See Dkts. 9, 10. II. ISSUES FOR REVIEW Plaintiff identifies a single issue for review. See generally Dkt. 21. In addition, Court identifies a preliminary issue. Preliminary issue identified by the Court: 1. The ALJ identifies Plaintiff's left ankle fracture as a severe impairment. However, Plaintiff's left ankle fracture occurred outside of the covered period. Additionally, without addressing the coverage issue, the ALJ discounts the treating physician's opinion on the basis of the physician's reliance on the fracture. Thus, there is an ambiguity as to what the ALJ considered to be Plaintiff's ankle impairment. Issue identified by Plaintiff: 2. Did the ALJ err in assigning greater weight to the opinions of the non-examining state medical consultants and the examining physician than the opinion of Plaintiff's treating physician, Dr. Jenny Cohen?[1] III. STANDARD OF REVIEW This Court has the authority to review the Commissioner's decision to deny disability benefits, but “a federal court's review of Social Security determinations is quite limited.” Brown-Hunter v. Colvin, 806 F.3d 487, 492 (9th Cir. 2015); see also 42 U.S.C. § 405(g). Federal courts “leave it to the ALJ to determine credibility, resolve conflicts in the testimony, and resolve ambiguities in the record.” Brown-Hunter, 806 F.3d at 492 (internal quotation marks and citation omitted). The Commissioner's decision will be disturbed only if it is not supported by substantial evidence or if it is based on the application of improper legal standards. Brown-Hunter, 806 F.3d at 492. “Under the substantial-evidence standard, a court looks to an existing administrative record and asks whether it contains sufficient evidence to support the agency's factual determinations, ” and this threshold is “not high.” Biestek v. Berryhill, -- U.S. --, 139 S.Ct. 1148, 1154 (2019) (internal quotation marks, citation, and alteration omitted); see also Rounds v. Comm'r of Soc. Sec. Admin., 807 F.3d 996, 1002 (9th Cir. 2015) (“Substantial evidence” means more than a mere scintilla but less than a preponderance; it is “such relevant evidence as a reasonable mind might accept as adequate to support a conclusion”) (internal quotation marks and citations omitted). The Court “must consider the evidence as a whole, weighing both the evidence that supports and the evidence that detracts from the Commissioner's conclusion.” Rounds, 807 F.3d at 1002 (internal quotation marks and citation omitted). Where “the evidence is susceptible to more than one rational interpretation, [the Court] must uphold the ALJ's findings if they are supported by inferences reasonably drawn from the record.” Id. (quoting Molina v. Astrue, 674 F.3d 1104, 1111 (9th Cir. 2012)). Even if the ALJ commits legal error, the ALJ's decision will be upheld if the error is harmless. See Brown-Hunter, 806 F.3d at 492. But “[a] reviewing court may not make independent findings based on the evidence before the ALJ to conclude that the ALJ's error was harmless.” Id. The Court is “constrained to review the reasons the ALJ asserts.” Id. (internal quotation marks and citation omitted). Additionally, “the burden of showing that an error is harmful normally falls upon the party attacking the agency's determination.” Molina, 674 F.3d at 1111 (quoting Shinseki v. Sanders, 556 U.S. 396, 409 (2009)). &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;IV. ...

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Deer Park Recovery About Brent Coon & Associates Brent Coon has made a name for himself defending the rights of people and businesses impacted by petrochemical catastrophes. He has been an advocate for industrious workers who have been injured by corporate negligence. Mr. Coon’s experience and knowledge of the legal processes implemented by the petrochemical industry has made him and his firm the “go-to experts” in the media. Brent has been called in by MSNBC, CNN, FOXNews, CBS, and most other news media networks to offer his insight and expertise. Brent Coon, Attorney and Founder of Brent Coon & Associates Brent Coon & Associates (BCA) has successfully brought claims against DuPont, Marathon Petroleum, Kuraray, and CVR Energy. And his landmark case against BP in the Texas City Explosion resulted in a history making settlement which culminated in improvements to safety conditions for future employees, charitable donations to the Southeast Texas community, and an unprecedented decision to keep the court documents public so that BP could be held accountable for future negligence and other petrochemical companies could learn from BP’s mistakes BCA is a public policy firm and has worked with numerous state and federal investigative agencies, including the Department of Justice, multiple state Attorneys General, the United States Chemical and Hazards Investigation Board. BCA serves as institutional or advisory counsel to numerous agencies and organizations, including the United Steelworkers, pilot unions, railroad and other transportation unions. Their work in this arena has led to widespread improvements in the safety and working conditions of industries throughout America and abroad. BCA was founded in 2001, in Beaumont, Texas. Today, with multiple offices around the country and hundreds of associated firms in various practice areas, BCA is one of the most recognized trial law firms in the nation and the epitome of the 21st century law practice. Brent Coon & Associates employs a full complement of aggressive litigators with experience in individual and complex multi-party, occupational/environmental, health and personal injury cases. UPDATE: BCA Files Restraining Order Against KMCO Attorney Brent Coon interviewed by KPRC Channel 2 in Houston after filing a Temporary Restraining Order against KMCO After the fire at the KMCO Petrochemical Plant in Crosby, Texas, Brent Coon & Associates filed a temporary restraining order to prevent KMCO from tampering with any potential evidence. BCA is representing Arturo Martinez, a worker who was injured in the fire.

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Diversity Strengthens Our Country Posted by Mark Gilbert | Jul 18, 2019 | Commentary, Politics | 0 | I know we all have “Trump fatigue”….yet we must try to remain vigilant and call out misguided and hurtful behavior when it occurs. The recent news, of course, was that Trump tweeted that four Democratic congresswomen should leave the country if they don’t like it here…using language that sounded racist in tone. That Trump sounded racist was not really news, afterall he’s been making that type of statement for over 2 years now. No, what was the major news was that the Congress, in a rare move, censured the President’s actions. Meanwhile, Lindsey Graham defended the President while attacking the Democratic women calling them “Communists” and “anti-American”. The fact is….America was built on diversity. We are a country of immigrants who came here to build a better life and along the way contributed to the growth of a better country. We are stronger by nature of our differences….those differences allow us to see things differently, to grow beyond our limits on what is possible. Being open to others who are not like us is a sign of strength. Closing ourselves off to those not like ourselves is a sign of fear. It’s ok to disagree on policies and how best to handle issues we face. What’s not ok is to seek to silence those who disagree with us by using racism and labels that incite fear and divisiveness. What kind of world do you want to live in? Is it one that is built on fear of those who are different from ourselves in appearance and beliefs? Is it one where we seek to intimidate and silence those who express an opinion different from what we believe? Or, is is a world where we openly accept our diversity, seeing it as a strength….a characteristic that calls us to expand beyond our limited beliefs of the world and its possibilities…one where all people are free to express their opinions and we respectfully listen and hear them? We cannot lose our vision for the world that is possible. PreviousWorld Travel Increases Tolerance? NextTranscending Polarization Imagine No Possessions? The Perfect is the Enemy of the Good What Do You Think of the UN? Haiti opens our hearts

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Search Magazine Covers Search From: Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 through Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 March 31, 2008 | Vol. 171 No. 13 Cover Credit: James Nachtwey View Large Cover Buy This Cover Cover Credit: James Nachtwey / VII Europe, Middle East Cover Credit: James Nachtwey / VII for TIME A Monk's Struggle (Cover Story) As China cracks down in Tibet, the Dalai Lama faces his greatest challenge since going into exile 49 years ago. Can his message of peace bring his people freedom? The Dalai Lama at Home TIME photographer James Nachtwey visit the Tibetan leader at his private residence in exile in Dharamsala, India A New Tibet As the modern world and information age crashes down the mountains, the once isolated land struggles to maintain its ancient Buddhist traditions. Tackling Tibet As violent protests spread in China, two TIME veterans offer unparalleled insight into the life and mind of Tibet's holiest leader, the Dalai Lama The Origin of Obama's Pastor Problem (The Well / Campaign '08) The candidate's own critical, questioning road to faith also led him straight to a controversial mentor Obama's Challenge — and Ours (In The Arena) His speech on race was a triumph. Now he has to keep telling hard truths Chainsaw Diplomacy (The Well / Commentary) The Iraq war has spelled the end for muscular moralism in U.S. foreign policy. Here's what should replace it A Voter's Guide to the Economy (The Well / Campaign '08) With a recession looming, it's Issue No. 1 for the candidates. What will they do to turn things around? Why Women Need Better Sleep (Life: Living - Travel - Power Of One - Health / Health) Poor sleep habits make them more vulnerable to heart disease than men Hung Up on Wallpaper (Life: Living - Travel - Power Of One - Health / Living) Cutting-edge styles and techniques are giving a dowdy old standby a hip new look Where the Hospitality Is Priceless (Life: Living - Travel - Power Of One - Health / Travel) Short on cash? Online travel networks are helping tourists find a place to sleep free of charge A Village Woman's Legacy (Power of One) An encounter with the victim of an old scourge gave a former President a new worldview--and a mission Hoop Dreams. (The Moment) Each March, the world's most powerful country roots for its underdogs Washington Memo (Dashboard) Campaign Insider. For Hillary Clinton, an economic adviser who has seen it all before Postcard: Lake Mead (Postcard: Lake Mead) The massive man-made reservoir supplies 90% of Las Vegas' water--and it's drying up. The growing Southwest tries to do more while drinking less Cosmic Flock (The Well / Space) The solar system is filled with NASA's busy ships--and they're having a very good year Wheel of Blame (The Well / Blame-o-Meter) Who should be held accountable for the economic mess we're in? The Bear Trap (Wall Street) A collapsing Wall Street bank has to be sold off by the Fed. Why we are facing the biggest money crisis since the Depression God and Tyler Perry vs. Hollywood (Show Business) The big studios have sneered at his movies, but the rising media mogul is laughing all the way to the altar and the bank Founding Fighters (Arts: Show Business - Television - Books - Downtime / Television) HBO's John Adams looks anew at the start of America--and of the arguments it's still having The Jihadi Next Door (Arts: Show Business - Television - Books - Downtime / Books) What turns a law-abiding young man into a terrorist? A forensic psychiatrist offers answers 5 Things You Should Know About (Arts: Show Business - Television - Books - Downtime / Downtime) Entertainment by way of real estate, diamonds, immigration and autism Comic Stripped (Downtime) The Kitchen Stinks Composting is part of my marital bargain, but I'm not saving the planet--I'm saving the hippies Mud Moguls (Global Business: Small Business - Life At The Top / Small Business) How a tiny Israeli company mined the Dead Sea and turned its natural riches into an international skin-care brand Full Speed Ahead (Global Business: Small Business - Life At The Top / Life At The Top) What recession? Why business has never been better for the world's superyacht industry Building a Better Athlete (Innovators) If the body is a machine, the best ones need pit crews. Meet the technicians behind the champions Isokazu Kubota (Innovators) Inside a block of raw wood, the perfect bat may be hiding. It takes artistry to know how to find it and draw it out Wouter Jager (Innovators / Building a Better Athlete) Science and sport create what may be the world's fastest bicycle Holger Geschwindner (Innovators / Building a Better Athlete) What do physics and jazz have to do with basketball? Plenty, if you really want to win Laszlo Kiss (Innovators / Building a Better Athlete) Hungary's swimmers are becoming global powerhouses, thanks to the talents of one man Deon Venter (Innovators / Building a Better Athlete) An athlete needs the right training--and the right genes. A scientist learns how to spot them

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ELAC brings back women’s swim team after 10 years By Oliver Blanco After a 10-year absence, the East Los Angeles College women’s swim team has returned with Erik Matheson taking charge as head coach. Matheson is grateful for the opportunity to coach the women as he prepares the 35 women for their first competition in January. Matheson is receiving the position in June, a month after high school recruiting took place. With no high school students available to recruit,… Elan wins cross country award By Tadzio Garcia Johana Ceja’s outstanding individual performance placed her on the women’s all-classic team, while the men’s team finished 10th at the Golden West Central Park Classic last Saturday. Both East Los Angeles College’s cross country teams ran short in Huntington Beach due to injuries. “Missing were three of our top five runners from the women’s team and two of the top five from the men’s team. However, we… Poor script kills ‘Killer’ By Thy Lam Regardless of its big names such as Jason Statham, Robert De Niro and Clive Owen, “Killer Elite” disappoints with a poorly written script. Based on a true story, “Killer Elite” is a cat and mouse game between Danny (played by Jason Statham), a former special agent of Britain’s Elite Special Air Service (SAS), and a leader of a secret military society, Spike (played by Clive Owen). While… ‘Brown and Out’ spotlights Latino community By Vivian Ramirez CASA 0101 was greeted with much success during its opening weekend of the Brown and Out Play Festival, representing the Latino lesbian, gay, bisexual and transgender community. The Festival was a series of short plays authored by six people. All 10 plays vary from humorous to serious and touch base with nearly every emotion in between. Brown & Out tells the stories of a wide spectrum of Latinos… Big dishes fill small ‘Cocina’ By Amanda Mayberry Big portions and big flavor are what separates Mama’s Cocina on Mednik Avenue from other Mexican restaurants. They give students that are on a budget more for their money. Students could easily get there by train, car, or even walking, though the latter might take a little longer. The walk is about 15 to 20 minutes. The area is becoming increasingly popular thanks to the Gold Line’s Civic… Student friendly vending machines By Rodolfo Trujillo Vending machines need to dispense more vital supplies than chips and soda, even though reporters, especially certain opinion writers, like chips and soda. Imagine this scenario. It’s 8:45 p.m. and your pen has run out of ink. What could you do if no one has an extra pen to lend to you? The local store is too far to go and come back in a reasonable amount… Don’t take all general education classes first By Yesenia Martinez Waiting to take major course work right before transferring or graduating can be foolish and costly. Most students enter college being undecided on their major. Students want to decide on a major early in their school career so it does not cause money or delays in the long run. It is a good idea for students who know what they want to major in to take introductory courses… School should be safer By Cristina Galvan School should be a safe environment where students should not have to worry about having their belongings stolen. Last week, Yadira Hernandez had her car broken into in the parking structure. Among some of the things that were stolen were her laptop, books and money to pay for her classes. Since Hernandez is an AB 540 student she does not qualify for financial aid and therefore has to… ELAC creates emergency evacuation team By Amanda Mayberry As a result of the new F7 building being opened this semester, a new evacuation plan is now required for East Los Angeles College. And with this new evacuation plan comes a new emergency team. The ELAC Emergency Team is made up of faculty and staff and is divided into two parts, the evacuation team and the emergency team. Faculty members are asked to volunteer and all… Thief steals tuition from Elan By Isaac Tovar Yadira Hernandez was returning to her vehicle on the fourth floor of the parking structure Tuesday morning, between 10a.m.-noon, to pick up her forgotten cell phone charger when she noticed her car door lock had been tampered with. As she entered her vehicle, she made a horrifying discovery. A number of important and expensive items had gone missing. The items taken were three text books, $450, and a…

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Dolven Enterprises Global Provider of Products and Services to the Home Furnishings Industry Does Your Company Have What it Takes to Successfully Undergo Change? December 22, 2015 UncategorizedBy Carly Griffin For a company to continue to succeed, it needs to accept that change is inevitable and innovation is key, and it must possess the necessary aspects to thrive in the face of such. Change in the status quo can sometimes cause discomfort for a company and rarely does it come without growing pains. However, to remain competitive, businesses cannot shy away from change, and if a company fosters a culture that is action oriented, problem solving, decision making, and results oriented, it has nothing to fear. In order to be action oriented, a company must be able to take practical action when necessary to handle a problem or situation. For a better idea, take a look at Nike. The company’s leadership failed to take action against the malpractices occurring in its supply chain and make the necessary changes, and the company’s reputation suffered drastically. Since then, Nike has managed to rehabilitate its brand, but had the company acted sooner, the problem could have been avoided completely. A company’s ability to problem solve, or its capacity to resolve an issue at the root of the problem, also reflects how adaptable it is to change. When a company realizes there is a problem within its supply chain, immediate response is necessary to get ahead of the issue. When Amazon first introduced its version of the smartphone, the Amazon Fire, many thought it was a good idea. However, the retail company ran into a problem when it could not offer a competitive price, compared to other innovative giants, like Apple or Android. To make their phone a viable option for consumers, it needed to find a way for its supply chain to work in a more beneficial way. Just as essential as problem solving to a company successfully undergoing change is its decision making. To make the best decision a company must be able to weigh the pros and cons of a situation analytically. A controversial example of this is when Nokia appointed Stephen Elop as its newest CEO in 2010. Before his appointment, Nokia’s leadership floundered to keep the company on a stable development path because they could not make decisions. Elop’s decisions may have led to Microsoft’s acquisition of the company, but at least he was making decisions when his predecessors could not. Successful decision makers do not fear making decisions, like Elop, but perhaps analyze the pros and cons of their decisions better and know a little more on how to make decisions. Finally, a company wishing to effectively make a change must also be results oriented, or understands which results are most important and focusing the right resources on achieving them. When Alphabet became the parent company of Google, the co-founders, Larry Page and Sergey Brin, who also run the company, obviously knew the results they desired to accomplish with this change. However, that is only one aspect of successful results orientation. The two failed to alert Google employees of this company-altering move, thus taking the world, and its employees by surprise. The change is a complete restructuring of the company, and the transition may have been smoother had they alerted and focused the right resources (in this case, the employees) on the results it wished to achieve before it happened, instead of causing confusion and disruption in the workplace. As the old adage says, the only constant in life is change, which is why companies need to embrace it. Big and small companies alike can learn from the trials of these giant companies, and work towards cultivating the aspects necessary to undergo successful transformations. carly.griffin Born and raised in North Carolina, Carly is a recent public relations graduate of The University of North Carolina at Chapel Hill. Carly currently heads up the social media and public relations efforts at Dolven Enterprises. Supply Chain Benefits: Why we don’t want to break free from this chain Essential Tips for an Efficient Supply Chain Three Keys to a Resilient Supply Chain Lean Manufacturing to Rock Inventory Establishing Transparent Supply Chains Are You Brave Enough to Stay in these Haunted Hotels? © Dolven Enterprises, Inc. Blog | Career Opportunities

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You are here: Home / Music / Orchestra / Festivals / Schools / Performings Arts / ACADEMY OF COUNTRY MUSIC® PROUDLY ANNOUNCES THE WINNERS OF THE SPECIAL AWARDS, STUDIO RECORDING AWARDS AND SONGWRITER OF THE YEAR AWARD; GLEN CAMPBELL, CRYSTAL GAYLE, EDDIE RABBITT, TANYA TUCKER, CARRIE UNDERWOOD, KEITH URBAN, JEFF WALKER, JIMMY WEBB, LITTLE BIG TOWN & THE STATLER BROTHERS REVEALED AS SPECIAL AWARD HONOREES ACADEMY OF COUNTRY MUSIC® PROUDLY ANNOUNCES THE WINNERS OF THE SPECIAL AWARDS, STUDIO RECORDING AWARDS AND SONGWRITER OF THE YEAR AWARD; GLEN CAMPBELL, CRYSTAL GAYLE, EDDIE RABBITT, TANYA TUCKER, CARRIE UNDERWOOD, KEITH URBAN, JEFF WALKER, JIMMY WEBB, LITTLE BIG TOWN & THE STATLER BROTHERS REVEALED AS SPECIAL AWARD HONOREES March 29, 2016 Comment Off 12 Views ACADEMY OF COUNTRY MUSIC® PROUDLY ANNOUNCES THE WINNERS OF THE SPECIAL AWARDS, STUDIO RECORDING AWARDS AND SONGWRITER OF THE YEAR AWARD GLEN CAMPBELL, CRYSTAL GAYLE, EDDIE RABBITT, TANYA TUCKER, CARRIE UNDERWOOD, KEITH URBAN, JEFF WALKER, JIMMY WEBB, LITTLE BIG TOWN & THE STATLER BROTHERS REVEALED AS SPECIAL AWARD HONOREES TWEET: Special Awards, Studio Recording Awards & Songwriter of the Year @ACMawards Winners Announced! #ACMs [insert news link here] ENCINO, CA (March 29, 2016) – The Academy of Country Music® announced today the Special Awards, Studio Recording Awards and Songwriter of the Year Award winners for the 51ST ACADEMY OF COUNTRY MUSIC AWARDS™. Honorees and winners will be celebrated during the 10th ANNUAL ACM HONORS™, an evening dedicated to recognizing the special honorees and off-camera category winners from the 51st Academy of Country Music Awards. The event will take place in the fall at the historic Ryman Auditorium in Nashville, TN. The Academy of Country Music Special Awards are voted on by the ACM Board of Directors for specific achievements. The Studio Recording and Songwriter of the Year Awards are voted on by specific categories of the Academy’s professional membership. ACM Lifting Lives Gary Haber Award – Carrie Underwood has been chosen to receive the ACM Lifting Lives Gary Haber Award. This new award, named in honor of late ACM Lifting Lives Chairman Gary Haber, was created by the ACM Lifting Lives Board of Directors to recognize a country music artist or industry professional who is committed to serving others, has a generosity of spirit and shows a dedication to helping those in need. Carrie Underwood, one of Haber’s longtime clients, was among the first artists to partner with ACM Lifting Lives, bringing much needed musical instruments to the public schools in her hometown, Checotah, OK. This year, Underwood is giving her time as a headliner for the first night of the three-day ACM Party for a Cause Festival on April 1st. In addition, she has been involved with a number of charitable endeavors including the Make-A-Wish Foundation, the Ryan Seacrest Foundation, Operation Homefront and her own C.A.T.S. Foundation, which gives back to her hometown community. Career Achievement Award – Glen Campbell has been chosen to receive the Career Achievement Award, which honors artists who have advanced the popularity and acceptance of country music through their endeavors in the entertainment industry in multiple areas during the preceding calendar year. Glen Campbell, over the course of six decades and 45 million records sold, blazed a trail as one of country music’s most diverse entertainers. His blend of country and pop sounds in the ‘60s and ‘70s resulted in the classics “Gentle on My Mind,” “By the Time I Get to Phoenix,” “Wichita Lineman,” and “Rhinestone Cowboy,” just a few of his 29 Top 10 singles. His lauded career earned 10 Academy of Country Music awards, including the 1998 Cliffie Stone Pioneer Award, and induction into the Country Music Hall of Fame. Campbell also flourished as a first-call session guitarist, performing with the Wrecking Crew, and contributing to iconic songs by the Beach Boys (Pet Sounds album), The Righteous Brothers (“You’ve Lost That Lovin’ Feeling”) and The Monkees (“I’m a Believer”). Born the son of an Arkansas sharecropper, Campbell’s combination of talent and personality made him successful as an actor in True Grit alongside John Wayne, and as host of his popular television show, The Glen Campbell Goodtime Hour. In recent years, Campbell faced his struggle with Alzheimer’s disease head-on, launching a farewell tour and documenting it in the acclaimed 2014 film, Glen Campbell: I’ll Be Me. A song featured in the documentary, “I’m Not Gonna Miss You,” was co-written by Campbell and won the 2015 Grammy Award for Best Country Song and was also nominated for Best Original Song at the 2015 Academy Awards. Past recipients of the Career Achievement Award include John Anderson, Vince Gill, Faith Hill, Toby Keith, Tim McGraw, Ronnie Milsap, Johnny Paycheck, Carl Perkins, Reba, Kenny Rogers, and Alabama. Cliffie Stone Pioneer Award – Crystal Gayle, Tanya Tucker and The Statler Brothers have been chosen to receive the Cliffie Stone Pioneer Award honoring individuals who are pioneers in the country music genre. Crystal Gayle traversed new territory as the first female country artist to achieve platinum album sales with her 1977 project We Must Believe in Magic, containing her crossover smash “Don’t It Make My Brown Eyes Blue.” The Kentucky native and younger sister of Loretta Lynn has been connecting with fans of country-pop for five decades, starting with the release of her debut single in 1970. Often working with hit-making producer Allen Reynolds, Gayle scored 20 No. 1 country hits during the 1970s and ‘80s, including “You Never Miss a Real Good Thing (Till He Says Goodbye),” “I’ll Get Over You,” and “Talking in Your Sleep.” She toured worldwide and starred in several prime-time television specials. In total, Gayle’s career yielded six Gold albums and four prestigious ACM Awards. Since the release of her debut single, “Delta Dawn,” at age 13, Tanya Tucker has been influencing generations of female artists. The 1972 hit, under the guidance of legendary producer Billy Sherrill, was the first in Tucker’s string of 56 Top 40 singles, including 10 No. 1s. Boosting her success was her willingness to address difficult topics, such as adultery and revenge in the song “Blood Red and Goin’ Down.” During the ‘70s and ‘80s, Tucker scored with “Would You Lay with Me (In a Field of Stone),” “Texas (When I Die),” “Can I See You Tonight,” and “One Love at a Time.” The 1990s marked a professional high-point for Tucker, thanks to memorable songs “Two Sparrows in a Hurricane,” “Down to My Last Teardrop,” and “It’s a Little Too Late.” Tucker is the recipient of two ACM Awards. Today, more than fifty years since her first record deal, she is still actively touring and making music. The Statler Brothers was a pioneering quartet comprised of Harold Reid, Don Reid, Phil Balsley, original member Lew DeWitt–and later member Jimmy Fortune. The Virginia natives intertwined gospel-inspired harmonies with country songs, getting their professional break in 1964 as Johnny Cash’s backing vocalists and opening act. This launched a career that would yield numerous hits in the 1960s through 1980s, including “Flowers on the Wall,” “Bed of Rose’s,” “Do You Know You Are My Sunshine?,” “Elizabeth,” “My Only Love” and “Too Much on My Heart.” Many of their signature songs were helmed by producer Jerry Kennedy. The Statlers often used humor in their music and performances, leading to frequent appearances on Cash’s popular television show and their own successful program on The Nashville Network (TNN) in the early to mid-1990s. The Statlers garnered two ACM Awards and 2008 induction to the Country Music Hall of Fame. Past recipients of the Cliffie Stone Pioneer Award include Alabama, Bob Beckham, Garth Brooks, Johnny Cash, Charlie Daniels, Larry Gatlin & The Gatlin Brothers, Merle Haggard, Emmylou Harris, George Jones, The Judds, Brenda Lee, Loretta Lynn, Willie Nelson, The Oak Ridge Boys, Dolly Parton, Charley Pride, Jerry Reed, Tex Ritter, Marty Robbins, Kenny Rogers, Billy Sherrill, Ricky Skaggs, Mel Tillis, Randy Travis, Conway Twitty, Porter Wagoner, Keith Whitley, Hank Williams, Hank Williams Jr., Bob Wills and Dwight Yoakam, among others. Crystal Milestone Award – Little Big Town has been chosen to receive the Crystal Milestone Award, which is given to an artist or industry leader to commemorate a specific, remarkable achievement. Little Big Town, the reigning ACM Vocal Group of the Year, enticed listeners with “Girl Crush,” a double-platinum single they performed on last year’s ACM Awards, the Billboard Music Awards, The Ellen DeGeneres Show, the Grammy Awards, the Grand Ole Opry and Late Night With Jimmy Kimmel. Despite some initial controversy and confusion over the subject matter, the smoldering single told through the eyes of a jilted lover grew to become the most downloaded country song in 2015. “Girl Crush” held the top spot of the Billboard Hot Country Songs chart for 13 consecutive weeks, setting the longest run in the top spot for a group since the Browns’ 10-week run in 1959 with “The Three Bells.” The single’s success helped Little Big Town earn its 10th nomination this year in the ACM Vocal Group of the Year category. Past recipients of the Crystal Milestone Award include Jason Aldean, Garth Brooks, Kenny Chesney, Merle Haggard, Gayle Holcomb, Loretta Lynn, Jennifer Nettles and Taylor Swift. Jim Reeves International Award – Jeff Walker (awarded posthumously) has been chosen to receive the Jim Reeves International Award, which is presented to an artist or industry leader for outstanding contributions to the acceptance of country music throughout the world. Australian native Jeff Walker greatly impacted the international reach of country music, advocating on behalf of foreign-born artists as well as working to expose country artists overseas. He moved to Nashville in 1974 and established his marketing and promotions firm in 1980. Over the next 35 years, the company became known as The AristoMedia Group/Marco Music Group, and grew to encompass divisions offering publicity, web development, radio promotion, video promotion and label/distribution services. An active member of the Music Row community, Walker served on the boards of the Country Radio Broadcasters and the Country Music Association and the Academy of Country Music. Walker passed away on Aug. 24, 2015 at age 65. Past recipients of the Jim Reeves International Award include Garth Brooks, Eric Church, Dick Clark, Roy Clark, Merv Griffin, Alan Jackson, Charlie Nagatani, Buck Owens, Dolly Parton, Taylor Swift, Keith Urban, Lady Antebellum and Rascal Flatts, among others. Mae Boren Axton Award – Keith Urban has been chosen as the recipient of the Mae Boren Axton Award, which is given to an outstanding individual recognizing years of dedication and service to the Academy of Country Music. Keith Urban kept his Fuse burning in 2015, as that gold-certified album sparked a fifth hit single in “Raise ‘Em Up.” The Grammy-nominated anthem—which opened the live 50th ACM Awards—carried Urban and Eric Church straight to the top of the country airplay chart. The good-natured Australian also mentored aspiring talent on American Idol and attended the opening of a spotlight exhibit at the Country Music Hall of Fame and Museum about his career. Urban has given his time, talent and support to both the Academy of Country Music and ACM Lifting Lives, proving to be a great friend and advocate for both organizations for years. Since his first appearance on the ACM Awards in 2001, Urban has performed or presented on every show since then, with the exception of 2007. His remarkable achievements include ACM Awards in the categories of New Male Vocalist (2000), Male Vocalist (2004, 2005) and Album (2004, for Be Here). An extraordinary guitarist and an exceptional team player, Urban also shared wins for Vocal Event in 2008 (“Start a Band” with Brad Paisley) and 2013 (“We Were Us” with Miranda Lambert”), as well as Video (“Highway Don’t Care” with Tim McGraw and Taylor Swift). In recognition of his worldwide appeal, he was the 2009 recipient of the ACM’s Jim Reeves International Award. Following the final season of American Idol, Urban will kick off his latest world tour of arenas and amphitheaters in June. Past recipients of the Mae Boren Axton Award include Barry Adelman, John Dorris, Tim DuBois, Rod Essig, Gayle Holcomb, Jack Lameier, Marge Meoli, Paul Moore, Ray Pilzak, Gaynelle Pitts, Gene Weed, Tommy Wiggins and David Young. Poet’s Award – Eddie Rabbitt (awarded posthumously) and Jimmy Webb have been chosen to receive the Poet’s Award, which honors songwriters for outstanding musical and/or lyrical contributions throughout their careers in the field of country music. Eddie Rabbitt scored country/pop crossover success starting in 1979 with hits “I Love a Rainy Night,” “Drivin’ My Life Away,” “Every Which Way But Loose” and “Suspicions.” His career began in the late 1960s as a professional songwriter who penned Elvis Presley’s “Kentucky Rain” and Ronnie Milsap’s “Pure Love.” While working to build his career as an artist, Rabbitt opened for Dolly Parton and Kenny Rogers. Rabbitt also recorded duets with Juice Newton (“Both to Each Other (Friends and Lovers)”) and fellow 2016 ACM honoree Crystal Gayle (“You and I”). Rabbitt is an ACM Award winner and Nashville Songwriters Hall of Fame inductee. He died May 7, 1998 at age 56. The remarkable career of songwriter Jimmy Webb began in 1965, crossing numerous genres and sales milestones. He is the pen behind platinum-selling classics recorded by multiple artists. “Up, Up and Away” was recorded by The 5th Dimension, Nancy Sinatra and Diana Ross & The Supremes. “MacArthur Park” was recorded by Waylon Jennings, Dionne Warwick, Donna Summer and Glen Campbell. Webb and fellow 2016 ACM Special Award honoree Campbell had a particularly fruitful professional relationship, resulting in the hits “Wichita Lineman,” “Galveston,” “By the Time I Get to Phoenix,” and others. Among the stellar artists who have recorded or performed Webb’s compositions are Frank Sinatra, Elvis Presley, Judy Collins, Isaac Hayes, Art Garfunkel, Linda Ronstadt and Carly Simon. Webb is a member of both the Songwriters Hall of Fame in New York, and the Nashville Songwriters Hall of Fame. More than fifty years into his career, Webb still performs regularly. Previous recipients of the Poet’s Award include Bill Anderson, Bobby Braddock, Felice and Boudleaux Bryant, Guy Clark, Jack Clement, Hank Cochran, Dean Dillon, Merle Haggard, Tom T. Hall, Harlan Howard, Kris Kristofferson, Bob McDill, Roger Miller, Buck Owens, Fred Rose, Don Schlitz, Cindy Walker and Hank Williams. Tex Ritter Award – As previously announced, Dolly Parton’s Coat of Many Colors has been chosen as the recipient of the Tex Ritter Award, which is given to recognize a movie released receiving significant exposure that featured or utilized country music, during the preceding calendar year. This award will be presented to Dolly Parton during the live 51st Academy of Country Music Awards telecast on April 3rd. Dolly Parton’s Coat of Many Colors aired on NBC in 2015, inspiring millions of viewers with its story of faith and family. Set in 1955 in the Great Smoky Mountains, the film showcases a poignant time in Parton’s childhood, as her family struggles with loss, grapples with religion, and ultimately triumphs with the healing power of love. Alyvia Alyn Lind stars as the nine-year-old singer who was given a patchwork coat made by her mother, played by Jennifer Nettles. Ricky Schroder portrays Parton’s father, along with Gerald McRaney as her grandfather. The movie was watched by more than 16 million viewers, making it one of the most-watched TV movies of all time. Past recipients of the Tex Ritter Award include Beer For My Horses, The Best Little Whorehouse in Texas, Country Strong, Crazy Heart, O Brother, Where Art Thou, Sweet Dreams and Walk the Line, among others. STUDIO RECORDING AWARDS BASS PLAYER OF THE YEAR: Michael Rhodes DRUMMER OF THE YEAR: Shannon Forrest GUITAR PLAYER OF THE YEAR: Derek Wells PIANO/KEYBOARDS PLAYER OF THE YEAR: Jim ‘Moose’ Brown SPECIALTY INSTRUMENT(S) PLAYER OF THE YEAR: Danny Rader STEEL GUITAR PLAYER OF THE YEAR: Paul Franklin AUDIO ENGINEER OF THE YEAR: Justin Niebank PRODUCER OF THE YEAR: Dave Cobb SONGWRITER OF THE YEAR SONGWRITER OF THE YEAR: Ross Copperman In : Music, Orchestra / Festivals / Schools, Performings Arts Previous article Artistic powerhouses Stephen Mills and Graham Reynolds reunite in Ballet Austin’s The Graham Reynolds Project Next article THIRD MAN RECORD STORE DAY 2016; Both retail locations open from 10am – 6pm New book by USF Sarasota-Manatee business professor explores the origins of money; Noel Mark Noël, PhD, a business professor at the University of South Florida Sarasota-Manatee, explores these questions and investigates currency’s impact across the spectrum of social development in his book Currencies and Cultures: The Impact of Culture on Economic Policies and the Foundations of Money Tim Tebow Celebrates 32nd Birthday with Goal To Fund 150 Life-Changing Surgeries at The Tebow CURE Hospital BALLET HISPÁNICO in collaboration with THE APOLLO THEATER presents The World Premiere of Annabelle Lopez Ochoa’s Tiburones A Restaging of Nací by Andrea Miller Con Brazos Abiertos by Michelle Manzanales November 22-23, 2019 at 8:00pm Junior League of Sarasota announces new leadership for 2019-2020 & highlights accomplishments of past year New College – New Topics 2019-2020 Lecture Series ABC Radio Announces Special Fourth Of July Programming Bulls Notebook: USF Sarasota-Manatee staff, faculty members volunteer at CMT kids camp Alarm Will Sound​, ​“one of the most vital and original ensembles on the American music scene” (​The New York Times​), tours the concert version of Princeton University Professor ​Donnacha Dennehy​’s modern cantata, ​The Hunger,​ ​to ​Princeton Sound Kitchen​ on ​September 17, 2019 at 8PM in Richardson Auditorium, Alexander Hall

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A Primer from the Virginia Supreme Court on the Invocation of Counsel Every so often the Supreme Court of Virginia seems to adopt a theme across a couple of cases. An example of this was in 2007 when the Court took a couple cases on Obstruction of Justice and significantly altered what the crime of Obstruction is. This time the Court, in two decisions authored by Justice Lemons, has outlined the parameters of the assertion of the right to counsel under Miranda. I've not had a recent argument which involved assertion of the right to counsel, so I can't claim to be up on the nuances of this area. However, my general impression has been that up to a couple years ago Virginia appellate courts were very hostile to Miranda and required a very clear, unequivocal invocation of the right to have counsel present during questioning. Then things seem to have begun to get mixed up and I recall reading a case or two that seemed to start backing away from the courts' prior position. This month's decisions seem to be the Supreme Court's attempt to remove as much ambiguity as possible. The question in Zektaw v. Commonwealth (No. 081738), the Court was to decide whether "Right, and I’d really like to talk to a lawyer because this – oh my God, oh, my Jesus, why?" during a custodial interrogation is a clear, unambiguous and unequivocal invocation of the right to counsel recognizable as such to a reasonable police officer. The crux of the matter is whether "I'd really like to" expresses a preference or is an attempt to assert the right. Both the trial court and the court of appeals ruled that it was not an assertion. The Virginia Supreme Court disagreed. The decision deals quickly with the preliminary matter of whether the defense counsel waived the objection to the introduction of the statement by asking questions about the statement on cross. The Court states that questioning during cross or introducing a rebuttal witness does not waive the objection. Only introducing new evidence of the same character waives the objection. Then the decision gets to the meat of the matter. The Court goes through an exhaustive list of Virginia cases in which it has ruled upon possible assertions of the right to counsel; it bolsters this discussion with cases from the federal supreme court. Following this, it characterizes the statements which do not assert the right to counsel as follows: 1) An attempt to clarify the right - "Can I have an attorney here?" 2) Asking for someone else to be present, but not specifically asking for an attorney. 3) The defendant stating he might want an attorney. 4) The defendant questioning the wisdom of going forward without an attorney - "Maybe I shouldn't talk to you without my attorney." After having gone through all of these, the Court decides that "I'd really like to talk to an attorney" doesn't fit under any of these and is an unambiguous assertion of the right. While the statement may look somewhat ambiguous - after all, it's not an assertion such as "I'm taking the 5th" or "I will not talk to you without my lawyer" - the US supreme court had already set precedent in this when it found "Uh, yeah. I’d like to do that" (in reference to the right to counsel just explained) not to be ambiguous. Smith v. Illinois, (No. 84-5332).In fact, the Virginia Supreme Court could have made this an extremely short opinion: Per Smith v. Illinois this matter is reversed. In the second case, Commonwealth v. Ferguson (No. 081645), the defendant was more savvy and put his assertion of the right to counsel a little more clearly: "Nah, I want a lawyer, you know what I’m saying?" Despite the clear invocation of the right to counsel, Officer One continues to interrogate him without getting a response. Eventually, Officer One "concludes the interview", turns off the tape recorder, and leaves the defendant in the room with Officer Two. Officer Two sits in silence with the defendant and, after a few minutes, the defendant begins to talk to Officer Two and eventually, after Officer Two reads the defendant his Miranda rights again, the defendant makes incriminatory statements. The Commonwealth asserts that these were two separate interviews and that the second one was initiated by the defendant. Thus, while the first interview was unconstitutional, the second was cleared of any tint because it was a conversation by choice of the defendant. The Supreme Court rejects this interpretation of the situation: Whatever the significance of Ferguson’s comments that broke the silence, they were the product of the coercive interrogation and environment created by police. Surely, police may not use the product of such techniques as proof of a voluntary reinitiation of communication and subsequent waiver of the right to counsel. Under the totality of the circumstances, we hold that this encounter was one continuous custodial interrogation conducted in such a manner as to deliberately disregard a clear, unambiguous and unequivocal invocation of the right to counsel and coerce Ferguson to incriminate himself. No bright line here; all of these cases are to be decided on totality of their facts. Cases should always be decided based on the totality of their facts. I think the fact that their is no bright line test is a good thing. Far too often this country's justice system has shown what injustices can occur when such facts aren't taken into account, especially in deportation issues: http://lawblog.legalmatch.com/2009/05/14/most-removed-immigrants-not-criminals-data-shows/ After 20 years of primarily doing civil defense in mid-sized firms, I went solo in 2005, and found myself doing a lot of criminal defense to pay the bills. But I found I enjoy it, too. This post is interesting to me. When I was an FBI agent (1979-85), the Bureau rule was when a suspect or target in custody mentioned the word, "lawyer," after being Mirandized, the interview did not commence until it was clear that the person was not invoking his/her right to have counsel present. If the agent was still unclear whether the right to counsel was freely waived, the interview was not begun. It amazes me that this issue keeps reappearing. The the police should realize that its too risky to take a chance on suppression unless the right is clearly waived. And the Beat Goes on . . .Magruder (Now Briscoe) G... Melendez-Diaz, Magruder, & Virginia Does the Virginia Notice - Demand Scheme Impermiss... Melendez-Diaz and Virginia Law CrimLaw Live A Primer from the Virginia Supreme Court on the In... New CrimLaw Live! Tonite Whitehead v. Commonwealth, No. 080775The Virginia ... What Would Be the Ideal Way to Choose a Judge? Reviewing My CrimLaw Live Broadcast Last Night CrimLaw Live Tonight 8 p.m.

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Royal Ascot a Tonic for U.S. Woes 22 June, 2008 7:39 PM What a joy to watch the Royal Ascot meeting on TV last week, especially hearing the rousing ovation for the champion stayer Yeats after his record-equaling third straight Ascot Gold Cup (Eng-I) victory at 2 1/2 miles. In case you’re unfamiliar with the term, a stayer is a creature unknown to American racing fans that actually relishes distances well beyond 1 1/2 miles (pssst, Breeders’ Cup officials, 1 1/2 miles is not a marathon). In speed-crazy America, horses like Yeats are considered a notch above plow horses and cast aside, while being treated like lepers by the breeders. The last horse to win three Ascot Gold Cups was Sagaro in 1975-77, and, believe it or not, I was at Ascot when he completed his triple in 1977 and can remember very well the enthusiastic reception he received. By the way, if you want tradition, next year the Ascot Gold Cup will have its 200th running. Not many people realize that an American Triple Crown winner ran in the Gold Cup. Omaha was the 6-5 favorite in 1936 and was beaten a nose by the filly Quashed. At the same time Yeats was being saluted for his remarkable achievement, Americans were listening to its leaders testify at a congressional hearing how drugs are ruining the sport and need to be abolished, how fragile the breed has become, and how racing desperately needs to be regulated by a governing body. Most witnesses painted a bleak picture of the sport and virtually pleaded with the subcommittee to do the work for them instead of offering a positive alternative and expounding on racing’s virtues. Talk about hostile witnesses. Yes, the sport in America needs a kick in the ass, but that was painful to listen to, and it was necessary to rush back to the Ascot races. Royal Ascot was a startling reminder how racing was meant to be -- horses without drugs, jockeys restricted in their use of the whip; no track surface controversies, grooms (lads) wearing suits and ties; entertaining and insightful analysis, candid comments, first class TV coverage and camera work, and a genuine love and respect for the sport and the horse. All this in a kaleidoscope of glorious colors and images set against a lush green backdrop and one of the most magnificent grandstands in the world. And, of course, there was the Queen’s procession each day. Getting back to Yeats, in America, he would be an outcast, floundering at distances 12 furlongs short of his best. In England, he is a hero worthy of the adulation he receives. Yeats’ victory capped a remarkable opening three days for trainer Aidan O’Brien, during which he also captured the group I St. James’s Palace Stakes with dual Guineas winner Henrythenavigator; the group I Prince of Wales’s Stakes with the former bridesmaid Duke of Marmalade, who has been born again as a 4-year-old, winning three straight group I stakes; and the group I Queen Anne Stakes with the Australian import Haradasun. Then on closing day, Saturday, O’Brien won the group II Hardwicke Stakes, a traditional prep for the King George VI and Queen Elizabeth Stakes (Eng-I), with Macarthur before bidding aloha to Royal Ascot by capturing the finale, the Queen Alexandra Stakes at two miles and five and a half furlongs, with Honolulu. The races were exciting, with numerous tight finishes and the occasional bravura performance. Even the TV commentary was exciting. Not to knock American TV commentators and analysts, but how refreshing and entertaining to listen to the unconventional and outspoken John McCririck and analyst Matt Chapman going at each other on the air. Here is an exchange between the two on opening day after McCririck was severely critical of the whipping rules in England (imagine what he’d have to say about our non-rules) and expressed his displeasure with Johnny Murtagh for abusing the whip on Haradasun. McCririck: “Murtagh would not have ridden like that if he knew he’d be disqualified. He could not come back and say, ‘I apologize, Aidan. I hit the horse too often, too hard, and I lost the race because of it’. The only way they’re going to stamp out excessive use of the whip, especially in big races, is to disqualify the horse. The jockeys wouldn’t do it. I’m right, but no one ever listens to me. It was a great training performance by Aidan O’Brien, but it’s slightly besmirched because of the way the horse was ridden. It’s unnecessary to hit a horse like that.” (By the way, Murtagh’s whipping of Haradasun was mild compared to the way many of our jockeys abuse the whip -- more on that in the future). Chapman (to the audience): “If you were listening to McCririck about the whip, please don’t get sucked in by his total buffoonery over the issue. The rules may be wrong, that’s a different issue, but Johnny Murtagh, to any normal horse racing fan, did absolutely nothing wrong. The horse was responding to a very light whip. The rules may be wrong, Big Mac, but that doesn’t mean the horse should be disqualified.” McCririck: “If you listen to Chapman we shouldn’t have any rules at all. You should go and slash the horses and beat them in the name of the sport. There are certain guidelines and all the jockeys know them. Murtagh deliberately broke them because it was group I and he keeps the race. He would not have done it, Matt Chapman…listen! He would not have broken the rules if he knew Haradasun would have been disqualified. He wouldn’t do it! Get THAT through your thick skull.” Chapman: “Of course, McCririck once again failing to grasp any of the point. No one wants any horse slashed. No jockey would slash a horse. It is absolutely not even the issue that he’s talking about. Jockeys, of course, wouldn’t break the rules if they got disqualified. However, that is not the point either. You’ve really got to get a grip about this, Big Mac, because you’ve got no idea what you’re talking about.” Now that’s good TV. Having been a huge fan of European racing for 40 years, Royal Ascot was a much-needed respite from all the craziness that has afflicted American racing lately, including one of the most tumultuous Triple Crowns ever. Now refreshed by Ascot’s week-long splash in the face, it is time once again to get back to the rush hour-like bustle of American racing. That is until July 23 when it will be time once again for our own catharsis known as Saratoga. It cannot come too soon. Filed under: steve haskin, John McCririck, Aidan O’Brien, sagaro, royal ascot, omaha, yeats Memories of Derby Trails Past Is Vox and Bricks a Good Mix? Getting Ready For Yet Another Early Goodbye A Case of Vino Thoroughbred Legend: Dr. Fager Thoroughbred Legend: John Henry Thoroughbred Legend: Kelso Horse Racing's Top 100 Moments Thoroughbred Champions: Top 100 Racehorses of the 20th Century 2013 Triple Crown Preview Become a Friend on Facebook! Breeders' Cup Classic hangin with haskin

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