Friends of Suffield [FOS] is a nonprofit volunteer organization committed to enriching our town and giving back to the community. For more, see About Us Tab. Funds raised get distributed back into the community. See Grant Recipients Tab.
Thank You for Submitting your Grant Requests in March. We will be reviewing & sending feedback in April. Looking forward to giving them away May 14!
Welcome Spring! Egg Hunt and Bunny Visit April 6th 1-3p at Spaulding School was a Great Success!
This month's Meeting April 9 at the Suffield Country Club to co-incide with Jewerly event happening there. Come Join us. Check out the jewelry at 6 and visit with us 6:30. Call Stephanie Dolan with any questions 860-930-0008.
Senior Valentine Social Success on Feb 9th!
Cupid's arrows were flying for the 32nd year, as the Friends of Suffield organization hosted the popular Senior Valentine Social for local seniors.
and other FUN, Social and Learning Events being cooked up too. Come join us and add to the FUN!
Go to Member events to see where we will be meeting next and come meet our fun group!
Go to Photos Tab to see photos of the some of the Fun we have had.
Thanks to all who joined the fun at the 2018 Suffield on the Green [SOTG] and Craft Fair. Looking forward to seeing you again next year, September 7 & 8, 2019 for more Music, Demonstrations, Great Food and Crafts, North Green Fun Zone with Inflatables+, Canine Contest and chance to see all that this town has to offer!
"Please express my sincere appreciation to the Friends of Suffield and their volunteers for what was the best Suffield on the Green since I've lived here! There was a wonderful "vibe" of excitement. I was there every minute of both days. All Generations were happy and enjoying themselves with something for everyone. The crafts were especially good this year too! On behalf of the Town, its residents and visitors, thank you for a great job!
Thank you to our 2018 Sponsors for this year's SOTG Event. See 2018 Sponsors tab to see those who help make this all possible!


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D Jones The General – My Ting A Ling
Artist, Audio, Featured, Music
Jones is the second coming of Reggaeton's The General
CHARLOTTE, NC – D. Jones is an artist destined for greatness as the next General of Reggaeton. Following in the footsteps of his mentor and Reggaeton legend, Michael Ellis – the father of the genre – D. Jones is bringing a fusion of sounds and styles with such mastery that it won't be long before he's a household name all over the world.
What started as a love for hip-hop as a young boy growing up in Charlotte, North Carolina, grew into a fascination with Latin- and Caribbean-influenced music. Over time he developed a strong, original sound – something that embraces multiple influences coming from different genres. His music is all about setting the bar higher and capturing those different influences in ways that are exciting for the listener. And one of the most amazing things about his style is the way that he seamlessly blurs the divide between those different genres and styles – from rap to pop to Caribbean and especially Reggaeton.
"It doesn't fall into one specific genre," he said of his sound. "When I sing and rap, I use Spanish and Patois and English all within the same song, and it all sounds good. I've been doing this about 14 years and I learned from the father of Reggaeton, and I've been building a brand and a sound that takes people to these places I'm singing about. That's what my music is all about – making people feel like they can go there. I want my music to cross boundaries, and to make people feel like they can cross boundaries, too. I bring that international vibe to them wherever they are. If you want to take a trip, or relax and vibe to it, my music is for you."
Not only is his sound standout, but D. Jones The General has a unique voice with great wordplay, showcased most often through a fast-paced, direct and dynamic flow. This is demonstrated most recently through his single "My Ting A Ling," which is set to drop later this month. The Latin/Caribbean-influenced vibe has a feel-good flow under lyrics that celebrate that one person who is special above all others. Fans of artists such as Busta Rhymes, Nas, El Alfa and Killer Ranks will love "My Ting A Ling" because of the similarities in style. D. Jones knows how to keep engagement levels high by enticing audiences with every beat. There's no limit to his creativity, and his talent for music is natural – so natural that he was being called The General long before he knew that was the name of Reggaeton's most prolific artist, as well.
"That name was given to me when I was in high school," he said. "I was working with a lot of artists who were older than me in North Carolina. I was only 15 and they were in their upper 20s. I'd do anything just to be around the studio – get water or hand out flyers or whatever. I just wanted to be around the recording process and culture as much as possible. It got to a point where I was leading those things – like promotions or video shoots or logistics of things. The older cats started calling me The General because of that. When I released my first album, which was self-produced, I got some interest from some labels and one of them told me I reminded them of one of the biggest Reggaeton artists of all time … El Generál. I had no clue that there was an artist with that name in the 90s. It was a crazy clash. And then when I got to meet Michael Ellis, who was the father of Reggaeton and producer of the megastar El General, it was a dream come true and just the perfect example of everything coming together."
Today, D. Jones is ready for his career to take a jump to the next level. He said he's proud of the body of work he's been able to develop so far, but he knows "My Ting A Ling" has such an international vibe that it could put him in front of fans all over the world.
To listen to D. Jones The General's music or to follow him on social media, please visit:
https://www.instagram.com/djonesthegeneral/
https://www.facebook.com/D.JonesTheGeneral
2019audioFeatured Music ArtistHip HopInstagramMusic TrackNew MusicsoundcloudStream on SoundCloud
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The court yard in Falun, connected to the restaurant Rådhuskällaren. Needed a new bar. And was consequently designed and produced by Butong.
Featuring pots, candle-holders, tables and a bar front in our splendid material.


SOLD1519 S 39th St .
SOLD 5 Acre Horse Ranch 202 7 Ranch Road Salado 5Acres, 1500SF 3 Stall Barn with water & electricity + 600SF shop & tack room and even an attached carport for your equipment. 2534SF Sgl story house build '99 3BR split master floorplan, 2 full baths, 2 living & dining.


text:
The New Leadership Generation as Walking Narrative-Subverters
Photo by Sarah Race
Joyce Rosario and Meiyin Wang in Conversation
Originally appeared on HowlRound Theatre Commons (October 21, 2018)
Meiyin Wang: I had a meeting with a young graduate, just yesterday, out of Bard College. She went, "Gideon Lester said that I should think about being a curator." That's completely a generational shift, at least for the United States, that you would come out of school thinking—especially in the performing arts—that you were going to be a curator. The word curating was not really even a word when I was coming up, because there was something a little bit too Eurocentric or elitist about it. You'd say you were a programmer or a presenter.
Joyce Rosario: Or a producer even. But all through my years at theatre school, the idea of what a producer does or what their role is was not really touched upon. After I graduated from UBC in 2003, I remember sitting in Barb Clausen's New Works office at the Dance Centre here in Vancouver. I was early and she asked me to wait for her at the table. It was an open office. All of these artists were coming in with interesting projects, and experiencing that activity I was like, Oh, what is that thing that Barb does? How do you get into that? Where do you learn that?
Meiyin: With all the transitions happening, there's been a lot of discussion about gender, and it's interesting that the person who was a constant for you, Barb, was a woman. What do you think about the generational shift in terms of leadership? Why are all the baby boomers retiring right now? I mean this as a serious question. Many of the people who are retiring, at least here in the States, are moving forward with other projects. They have decided to step away from leadership. I wonder how much of it has to do with the current economy—the current sociopolitical situation—and the more palpable rift that's happening.
Joyce: There's an aspect of that happening here in Canada, too, but it sounds just from our conversation that it's a lot more acute for very obvious reasons in the States right now.
Meiyin: Leadership opportunities, both for people of colour and women, are abundant right now.
Joyce: Do you think this next crop of leaders is being set up to succeed? Are they being positioned to do their best work?
Meiyin: My question is: What would positioning them to do the best work look like? And whose responsibility is it? First the board chooses, right? They go through a process, they are theoretically in conversation with their communities and staff, but, by and large, the board chooses. There is more than likely a gap between what the board wants and what the board has committed to. How committed are they, and do they know the level of commitment actually required for the change in leadership that's about to happen, and the change in programming, the change in culture, the change in outlook? The day-to-day bombardment of what is happening in our world today?
What happens if this new generation doesn't do as expected? Are they then going to be made scapegoats for whatever goes wrong so that somebody who's a more "obvious" choice—who looks a certain way and is of a certain background can come in? I am watching with great trepidation and hope. Because there are some really exciting people (like Maria Goyanes, Hana Sharif, and Stephanie Ybarra) who just got appointments to these jobs, and I hope that their community, the field, and their boards are ready to support them and put resources where they're needed.
Joyce: One of my questions is about the desire many people have to see more diverse leadership. People really want to see that, or they say they want to see that. Once you're a person of colour in that leadership position, do the barriers get erased?
Meiyin: Of course not. It's about equity, about making sure they're on the same playing field. You've got to be smart, you've got to prepare your staff and the community, you've got to know what you're talking about at the leadership level. And you've got to be prepared for what's difficult to prepare for.
Joyce: What are those things?
Meiyin: Drop-offs in audiences, for example. You have to be ready for the drop-off and the only way to be ready for it is to have a "war chest." It's either money, time, goodwill, or something to sustain you through the change. It takes three years for something to just stabilize, so you've got to prepare for five years.
Joyce: It's a well-documented pattern that when you have a new leader at the helm there will be a bit of an attrition in audiences, in subscribers, in donors, and then it picks back up again. I think what we are talking about is the particular complications for people of colour.
Meiyin: I think it's also about the arts community, and how they can rally around each other and come together. Maybe this is all a little too negative, but it's the state of this country right now.
Joyce: Well, yes. It's a kind of existential moment in the work that we do. Whether it can be a tool for change, whether we can be agents for change.
Meiyin: That's definitely something I think about. It's why I do work, how I choose work. I've been collaborating with Toshi Reagon for Parable of the Sower. That was the project I took right after I came out of Under the Radar. We just toured it to the Singapore International Festival of the Arts and the Holland Festival, which was amazing. Toshi and I want to keep doing it in the States, because it's not about just doing the show, it's about starting conversations with communities that will have a ripple effect and continue past the show being there.
It's one of the things I've been thinking about, what kind of platforms you can make to fight for the right to exist in the storm.
What happens if this new generation doesn't do as expected? Are they then going to be made scapegoats for whatever goes wrong?
Joyce: That makes me think about why we do what we do and how it's driven by personal values, by the change we want to see in the world, and how we can best position ourselves to do that work. For me that's always been what drives the decision-making about what my next step career-wise is going to be. Before I was at PuSh, I was the executive director of a small arts organization. So many of my peers questioned the move; they saw it as a stepping back. But for me there were a lot of factors that went into the decision, like being a young executive director nearly to the point of burnout.
The thing that brought me to that work as an executive director was that Barb—who I mentioned earlier—decided to retire from New Works after seventeen years, and I was her successor. This post-founder thing, I have very much lived the experience. When you're talking about audience attrition and all of that, I lived that. I think I did a great job getting through it, proving that the organization had relevance after its founder. But the desire to be a part of a larger team at PuSh—the work that it does, what it does for the city, and in a role focused on curating—was really the big motivator to make that change for myself.
Meiyin: Sometimes institutions are actually good things, right? Having the foundation, so that you can run faster and further, is not a bad thing.
Joyce: It's also like having a bit of shelter from things that get thrown at you. It's great to be established in that way. I think PuSh's tenth year, when I started, was the real defining moment of the organization. Realizing that it was actually an institution, it wasn't going anywhere. That has meaning for people; it continues to have relevance.
Meiyin: When I was thinking about moving to the West Coast, I basically wanted the reverse, to go from an institution out into the "wilderness." What's been really humbling is being an independent producer and seeing how much institutions actually lean on independent companies and artists to find resources to develop work to a certain level before it can keep moving up the ladder: First you find the residencies, then the workshops, then you get your commissions, and you just keep putting one foot in front of the other until you get to the "top floor" of large presenting house. Hmm, that's a depressing way to put it.
But really it's been invigorating to be at the beginning of the development process with artists and shape the context of the work—who the work is for, engagement strategies, production dramaturgy—before it goes into a presenting institution.
Joyce: Having been at a presenting institution, and a very well-established, well-respected one, do you find that's an asset to the work you do as a producer?
Meiyin: Oh absolutely. There are certain ways presenters think, and producers find a way to make it easier for presenters to say yes. You are emphasizing a particular aspect of the work that you know is going to be of interest and of value. It gives me pause when I think about the younger generation of artists who might not have the same access to and knowledge of gatekeepers.
Joyce: How would you describe your working relationship with [Under the Radar festival director] Mark Russell?
Meiyin: As we started, we were both in a place of discovery. It was the second or third year that Under the Radar was happening. It was in the beginning of this field-wide, coming-into-prominence of these particular festivals—Philly Live Arts, Fusebox, PuSh, and COIL were all starting about the same time. For Mark and me, it was a matter of growing the festival together and what it could mean to New York every year. Our personalities meshed. We're both pretty easygoing, and Mark was very generous. I was given a lot of opportunities to be very visible and I took advantage of them.
By the time I became the co-director of the festival as he went to Switzerland, we had been doing it for nine, ten years. There was definitely a rhythm in which things happened. Part of the challenge was getting out of that rhythm. Like what else can we do after ten years? How are we actually being of value to artists, communities, audiences, and the institution? What are we doing that can further that, how can we further support artists and the processes in which they are making work? That was what I worked on when I became co-director. The question then became: What would happen when he came back from Switzerland?
My move to California made sense for many reasons. I also wanted to make sure that Under the Radar was not going to be my entire life and career. It's a crazy thing to say that Under the Radar felt too small, but I'm in my thirties, it couldn't be my whole life.
Joyce: I can relate to that. The first year of PuSh Festival was the year I graduated from university. After that, I was an avid festival-goer myself, finding ways to see as many shows as possible, co-founding the OFF program (PushOFF) that runs parallel to PuSh. Kris Nelson and I did that for three years together, while he was at Antonym in Montreal and I was at New Works in Vancouver. Then he went off to Dublin Fringe and I ended up getting a job at PuSh. So coming into this relationship working with Norman [Armour], I already had that history with the festival. It was a place I knew, one of the places in the city that I saw myself working in at some point in my career.
I think Norman recognized the risk I was taking in my career, by stepping back from the kind of leadership position I had as an executive director and into something where my role would be quite focused. We had a pretty great relationship too, not perfect by any means, but we got along even though we're very, very different people. We came together from a basis of deep respect and admiration for each other's work. I think it's through our differences that our five years programming together got really sharp and really deep. If you're having to articulate to each other to work across your differences, that can only add greater depth to what you're doing overall.
During this very moment in the United States, especially with the #MeToo movement, it's all so raw. Everything is coming up and skin is being exposed in the process.
Meiyin: Yes. Mark's and my personalities were pretty similar, but our tastes differed. It worked to have our two voices in the same room. We were able to call out each other's blind spots, and having to articulate to each other particular choices within the context of whatever we were programming made those choices stronger. What was the first year like for you at PuSh?
Joyce: I remember being in my first annual review, one of the bits of feedback I got was: You have to turn your executive director brain off for this. You are the curator, you're just curating now. You don't have to worry about all that other stuff. I always used to like having my hands in a lot of different things.
Meiyin: "Why do you want me to have just a curator brain on?"
Joyce: Although I was the executive director of a smaller organization, well, it was smaller, right? I hadn't worked with a development staff before. We didn't have a robust communications team. And that's interesting because it makes me think, How did I even learn budgets? I learned budgets because one of my first gigs was with a dance company and in the five years that I worked with them, they were doing some international touring. It was a very small core team, two co–artistic directors and then me, fresh out of school. I was asked to do mundane tasks including preparing all of the paperwork for the accountant, who was, let's just say, challenging. I wanted to be at those meetings and make sure I knew what I was talking about so he wouldn't be so condescending.
Meiyin: You got to be prepared for any situation. Especially being a young female POC then, I always felt I had to be extra prepared.
Joyce: You come to this realization that other people aren't coming prepared to these things. And it's because they don't have to, they've never had to live with that anxiety of being perceived as not smart, not competent, not deserving of being in that room.
Meiyin: And yet, right after as I was leaving the Public, somebody was trying to get me to say that I had had a more difficult go of it because I was a young woman of color. I said no. Because I felt like my place there was not questioned. I was not in question. I was subverting their narrative.
Joyce: I feel like I'm often a walking narrative-subverter. Some of the travel I was doing when I first started at PuSh—places where Norman would go and everyone knew him—often people wouldn't assume that I was in a position to make decisions about what would get programmed or not. That's not the automatic assumption people make when I walk into a room. It's so much easier for people to make that assumption with an older white man. I don't say that at all out of disrespect; I think it's a bias that's real.
Meiyin: Yes, it is very real.
Joyce: It's irritating sometimes.
Meiyin: All of the time.
Joyce: But then sometimes you get to be—pardon my pun here—under the radar. You can walk around and if people aren't pitching you right away—
Meiyin: My term is incognito.
Joyce: Yeah, you get to be incognito. That's right.
Meiyin: That's true. I moved to the West Coast and I thought, Oh, I can just watch a play and nobody's going to be looking at me while I'm watching the play. Nobody cares. That's great.
Do you think that is close to changing with the new generation that's coming up? When you go to conferences, do you see people who look like us?
Joyce: It depends on the conference, but, yeah, more and more. I think with each generation that's changing. I've been in it long enough to feel how slow that change is, and long enough to recognize some of the progress.
Some of my colleagues who are younger women of colour—I'm close to forty, they're probably closer to mid-twenties—don't have as many hang-ups and insecurities as I did. Maybe for me that was just an internal thing… It must have been. I couldn't have gotten here had I been so calcified by that anxiety.
Meiyin: Are you saying you were never calcified by the anxiety?
Joyce: Perhaps it's just the chip on my shoulder that's still there and I'm trying to brush it off. Maybe this political time we're in now makes it feel more acute. We're all reckoning with it in a way we haven't before because so many of those who have been standing at the edges are at the centre with a voice they haven't had before. That's what I'm responding to; we're working through a lot of things that are on the table in a way that they haven't been. A lot more people are feeling uncomfortable as a result, and it's a feeling they don't know what to do with.
Meiyin: During this very moment in the United States, especially with the #MeToo movement, it's all so raw. Everything is coming up and skin is being exposed in the process.
Joyce: Not because it's new. It's exactly the opposite. It's because that's what it's been for so long.
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Spring fever is going around. Don't catch it yet.
Temperatures in the 70s in early March are enough to lure any red-blooded gardener into the yard, but your plants could pay the price. Remember the March blizzard of 1993?
"Our last frost date in the Athens area is about April 10," said Wayne McLaurin, a University of Georgia Extension Service horticulturist. "We still have a chance of frost for the next two to three weeks."
The last frost date is calculated by using long-term data to develop an average. The last frost date could be later than that.
"Another problem gardeners face is the soil isn't warm yet," McLaurin said. "It's going to take some 85-degree days to get the soil warmed so the roots will grow."
If the soil isn't warm enough to encourage root growth, the plant will just sit. Then it becomes vulnerable to root rot and other root-damaging diseases.
Some plants are safe to put in the ground now if you just can't wait for warmer weather.
"You can plant potatoes now, or lettuce, cabbage or any of the cole crops," McLaurin said. "They will withstand a lot more cold that tomatoes, peppers or other vegetables."
For almost everything else, it's smart to wait until mid-April to early-May to plant.
"You can plant the first of April," he said, "but you're still facing the risk of one last frost. So check the long-range weather forecast."
There is still plenty for gardeners to do outside to take advantage of warm spring days.
"You can start to get the soil worked up," McLaurin said. "You can sharpen tools, make sure all your equipment is running smoothly, buy fertilizer and starting checking out where the good plants and seeds are available."
One good outdoor activity for the preplanting season is to ready the mower.
"Check your lawn mower and make sure it's ready for the mowing season," McLaurin said. "If your grass is growing now, it's not too early to start mowing."


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text:
New boutique hotel in Hyde Park to begin construction spring 2016
By Marianne Dolan
Construction on a new boutique hotel on the corner of 53rd Street and Dorchester Avenue is set to begin in spring of 2016. This hotel will be the second collaborative development between Smart Hotels, LLC and the Olympia Company in Hyde Park.
Their first property, the Hyatt Place, opened in 2013 on Harper Court as the first hotel to come to Hyde Park in 50 years. With their focus on campus communities, Smart Hotels' initial interest in Hyde Park began in 2009.
"It had a commercial district that was strong, and it had institutions, namely the University of Chicago and University of Chicago Medical Center, that were committed to strengthening it, not only being there but making it better by it being there," Ed Small, president of Smart Hotels, said. "The opportunity to come to Hyde Park for us was great."
In addition to over 50 percent of the employees of Hyatt Place coming from Hyde Park and the surrounding area, Small estimated that Hyatt Place currently brings in over 50,000 people a year for overnight stays in the neighborhood, resulting in more money spent locally within the community.
"Sometimes in Chicago, for reasons beyond us, the South Side is under-appreciated, so people come with low expectations, and I think when they finally get there and see how strong of a community it is, we give them a great experience at our hotel," Small said.
After the success of the first hotel, the developers decided they wanted to create a smaller, more intimate hotel with 90 rooms. Besides the smaller size, Small noted the greater freedom an independent hotel allows due to the lack of brand standards.
"Everything will be custom-designed from scratch," Small said.
GREC Architects is the firm behind the design of new building. Greg Randall, the firm's principal architect, stated that the design while not yet finalized will incorporate both the vibrant character of Hyde Park and the luxurious aesthetic of the hotel.
Additionally, the design will incorporate sustainable features to aspire to make the building at a minimum LEED Silver certified. The building will have an energy efficient heating and cooling system and an efficient electrical system. The selection of materials used will also be chosen through the lens of environmental consciousness.
DNAinfo reported that some local residents express concerns at a local meeting over a lack of parking, increase in traffic, and obstructed views due to the new hotel's location in the midst of 53rd Street. Small stated the building would be shorter than the surrounding buildings.
"We're seeing the neighborhood boutique hotel all over the country. You're seeing it in Chicago as well. There's a little bit of it in the north side, certainly the West Loop, it's happening. But we also feel that Hyde Park and the surrounding area is deserving of a hotel that respects the local character and puts its stamp on what a neighborhood boutique hotel can be," he said.
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Turk's installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the 'myth' of the artist and the 'authorship' of a work, Turk's engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp. In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, 'Cave', consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence 'Gavin Turk worked here 1989-91'. Instantly gaining notoriety through this installation, Turk was spotted by Charles Saatchi and was included in several YBA exhibitions. Turk's work has since been collected and exhibited by many major museums and galleries throughout the world.
In 2013 Prestel published Turk's first major monograph, showcasing more than two decades of his work and in 2014 Trolley Books published 'This Is Not A Book About Gavin Turk' which playfully explores themes associated with the artist's work via thirty notable contributors.


BOT libre now supports live video and audio chat in our embeddable chat rooms and live chat channels. You can use our live chat for video broadcasts, or video conferencing, or you can even video chat with your bot by adding it to your chat room.
The video support is still experimental, and there are know issues that your media feed can got lost if you rejoin channels. Please log any issues you encounter in our Bugs and Features forum.


A self extractor for the 'lib' files that we include for this (pretty cute) little calculator are here.
Bug in Parser Test 2.
See the previous blog entry: "Playing with parsing" here.
to grab the files we need to include for these tests and a working mc2 definitions file for those who have mc2. Type "mc2 -init" first time. After that "make update" will add/remove files from the makefile.
Creating an extensible mid-level parser that makes sense in C.
Looking at BNF-like syntax and C syntax similarities.
Tossing flex as far as we can throw it. While its still burning.


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Statement by Minister Soini at the seminar Connecting Meteorology with Traditional Knowledge and Local Knowledge
Statement by Foreign Minister Timo Soini at the seminar "Connecting Meteorology with Traditional Knowledge and Local Knowledge" in Rovaniemi 6th of May 2019.
Speeches |
Finland's Arctic Council Chairmanship comes to an end in Rovaniemi
Finland's two-year Chairmanship of the Arctic Council will end at the Foreign Ministerial Meeting that will be held in Rovaniemi on 7 May. The Foreign Ministers of all the eight Arctic States – Canada, the Kingdom of Denmark, Finland, Iceland, Norway, the Russian Federation, Sweden, and the United States – are expected to arrive in Rovaniemi. The Ministerial Meeting will be chaired by Minister for Foreign Affairs Timo Soini.
Press points of Minister Soini at press conference with Foreign Ministers of Sweden, Germany and Denmark
What can Finland and Denmark learn from each other when it comes to education? – An interview with Professor Pasi Sahlberg
Pasi Sahlberg, a Finnish professor and expert in education, recently visited Copenhagen in order to meet Danish teachers, principals and other educational experts. Sahlberg has written several books on the world-renowned Finnish school system, and currently travels all over the world to speak about how schools and educators can improve their working methods.
Minister for Foreign Affairs Soini to host foreign ministerial meeting of Finnish, German, Swedish and Danish counterparts in Helsinki
Finland's Minister for Foreign Affairs Timo Soini, Sweden's Minister for Foreign Affairs Margot Wallström, Germany's Minister of Foreign Affairs Heiko Maas, and State Secretary for Foreign Policy of Denmark Jonas Bering Liisberg will have a meeting in Helsinki on Tuesday 19 March.
Nordic Impressions – Stunning Survey of Diverse Nordic Art on Display in D.C.
Nordic Impression showcases art from Åland, Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway and Sweden, from years 1821-2018. Make sure to check out the exhibition, it is on view until January 13th 2019.
Minister Virolainen to lead a Team Finland visit to Denmark
Minister for Foreign Trade and Development Anne-Mari Virolainen will lead a Team Finland visit to Denmark on 4–5 September.
Nordic foreign ministers meet in Stockholm to look at the international situation
Minister for Foreign Affairs Timo Soini will attend the Nordic foreign ministers' meeting in Stockholm from 17 to 18 April 2018.
Minister for Foreign Affairs Timo Soini to meet Norwegian and Danish Foreign Ministers during Nordic Council's Ordinary Session
Minister for Foreign Affairs Timo Soini will meet Norway's newly elected Minister of Foreign Affairs Ine Eriksen Søreiden on 31 October and Denmark's Minister of Foreign Affairs Anders Samuelsen on 1 November in connection with the Ordinary Session of the Nordic Council in Helsinki.
New Ambassador to Copenhagen
On Friday 10 March, the President of the Republic appointed Counsellor for Foreign Affairs Vesa Vasara as Head of the Finnish Embassy in Copenhagen from 1 September 2017.


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Mon - Fri 08:30-17:30 +357 2226 2844
info@fides-corp.com
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Cyprus Non Domiciled Tax Resident Individuals
Fidescorp Limited > News > Cyprus Non Domiciled Tax Resident Individuals
On the 9th July 2015, the Cypriot House of Representatives voted a number of significant amendments to the Cyprus tax legislation, further improving the attractiveness of the Cypriot tax system. One of the most important changes made was the introduction of the concept of a non-domiciled resident individual.
Special Contribution for Defense ("SDC")
Up until now, Cyprus tax resident individuals were subject to an additional type of taxation on certain types of income, called Special Contribution for Defense. This taxation was imposed at the following rates:
30% on "passive" interest income;
17% on dividend income;
3% on 75% of rental income.
The SDC Law also includes provisions for the deemed distribution of profits of Cypriot tax resident companies to the extent that the shareholders (beneficiaries) of such companies are Cyprus tax resident individuals.
An individual is considered to be a Cyprus tax resident if he/she is physically present in Cyprus for a period or periods exceeding in aggregate 183 days during each calendar year. For the determination of residency, the purpose of being in Cyprus is not relevant, nor is it a condition that a Cyprus tax resident person owns or rents accommodation in Cyprus. It is literally based on the number of days spent in the country without any further conditions.
In calculating the days spent, the following apply:
the day of departure is considered as a day outside of Cyprus,
the day of arrival is considered as a day in Cyprus,
arriving in Cyprus and departing on the same day is considered to be a full day in Cyprus, and
departing from Cyprus and arriving on the same day is considered to be a day outside of Cyprus.
Non-domiciled Resident
With the recent amendment, the SDC law provides for the imposition of SDC to an individual only if he/she is both a resident for tax purposes of Cyprus and is also considered to be domiciled in Cyprus.
As such, with the introduction of "non-domicile" or "non-dom" rules, a Cyprus tax resident individual who is not domiciled in Cyprus will not be subject to SDC in Cyprus on any interest, rents or dividends (whether actual or deemed) regardless of whether such income is derived from sources within Cyprus and regardless of whether such income is remitted to a bank account or economically used in Cyprus. It is noted that no tax is imposed on individuals under the Income Tax Law in respect of interest and dividend income.
The SDC law defines the term domicile with reference to the Will and Succession Law, Cap 195, as amended. Under this law, a domiciled person is every person which has, at any given time either:
the domicile received by him/her at birth ('domicile of origin'), or
the domicile (not being the same as the domicile of origin) acquired or retained by him/her by his/her own act ('domicile of choice').
Under (i) above, the domicile of origin of a legitimate child is that of the father's, or in the case of an illegitimate child, that of the mother's.
Under (ii) above, a person may acquire a domicile of choice by establishing his/her home at any place in Cyprus with the intention of permanent or indefinite residence.
The domicile of origin prevails and is retained until a domicile of choice is in fact acquired. Once a domicile of choice has been acquired, it will be retained until it is abandoned, in which case either a new domicile of choice will be acquired, or the domicile of origin is resumed.
As per the newly amended SDC legislation, an individual is considered to be domiciled in Cyprus by way of domicile of origin in accordance with the Wills and Succession Law, except for the following cases:
An individual who has obtained and maintained a domicile of choice outside Cyprus in accordance with the Wills and Succession Law, provided that such an individual has not been a tax resident of Cyprus for a period of 20 consecutive years preceding the tax year; or
An individual who has not been a tax resident of Cyprus for a period of 20 consecutive years prior to the introduction of the present law.
Notwithstanding the above, an individual who has been a tax resident of Cyprus for at least 17 years out of the last 20 years prior to the tax year will be considered to be domiciled in Cyprus and as such be subject to SDC regardless of his/her domicile of origin ("deemed domicile").
The law includes anti-abuse provisions as per which the Cyprus Tax Office has the right to disregard the transfer of property made by a person who is domiciled in Cyprus to a relative up to a third degree of kindred who is not domiciled in Cyprus in case such transfer was made with the aim to avoid the imposition of SDC as a result of the introduction of non-dom rules.
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There is a new sketch challenge up over at Christmas Card Throwdown. Since it is the first week of April, that means it is time for our sketch challenge. This month our sketch is a fun partial sunburst theme, and we can't wait to see what you come up with.
Because of how I trimmed paper to create the sunburst, I ended with two cards basically for the price of one. I pulled out an old paper pad of Doodlebug printed Christmas paper and created a layered look. Additionally, I turned the sketch 90 degrees putting the star burst into a different corner.
My first card features the starburst papers layered over red polkadots and a piece of gift themed ephemera.
My second card features the same printed star burst, but this time laid over green tree printed paper. This card also features some sweet deer family ephemera.
I can not wait to see what you come up with for this month's sketch challenge. Until then, happy crafting!


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Daniel Mariano Bueno (São Paulo, 15 december 1983) is een Braziliaans voetballer.

Braziliaans voetballer

redpajama_set_name: RedPajamaWikipedia


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Confusion follows plain tobacco packs proposal
The government's intention to explore the possibility of plain packaging for tobacco products has left the industry confused about what this will mean for the planned display ban.
Speaking ahead of the launch of a Health White Paper later this month, Secretary of State for Health, Andrew Lansley, said it was "wrong that children were being attracted to smoke by glitzy designs on packets", sparking speculation about the proposed display ban.
The Association of Convenience Stores (ACS) said that the display ban and plain packaging would both be bad for retailers, and it made no sense for both pieces of legislation to work together. Shane Brennan, public affairs director at the ACS, said: "We need some sort of clarity. Both ideas are bad for retailers and the worst outcome would be for them to be used together we've made that very clear to government." The Tobacco Manufacturers Association has also questioned the legality of plans for plain packaging. Chief executive, Chris Ogden, said: "Moves to prevent tobacco companies from exercising their intellectual property rights would place the government in breach of legal obligations relating to intellectual property, international trade and European law."


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日本語ページ
HOWLIN' INVITES VIDAL BENJAMIN
Our next musical invite is the Parisian selector Vidal Benjamin with a pure Belgian mix. We met Vidal in Paris a long time ago through some mutual friends and felt, as they say, an instant clique. Before we knew we were talking about records, Ab sounds and the mysterieus selector from Brussels Jean Claude Maury. When we initially asked Vidal for a mixtape he proposed us to make a mix with only Belgian music… well we couldn't say no to that, right?
In Vidal's own words; This mix came to my mind during the lockdown in Paris. I was thinking of all the wonderful 7 inches that I found in Belgium. Could I put some of them together without any sort of genre barrier, just to let people know how creative the electronic scene in Belgium was in the late eighties and early nineties? Actually, adding different styles to the pot is a true Belgian tradition (think AB sounds, Liaisons Dangereuses…) and explains why the balearic beats were (arguably) a Belgian creation (think of the mysterious J.-C. Maury).
So let's take a sip of Jupiler and listen happily together to my Belgian Zeitgeist kindly hosted by Antwerp based brand Howlin' (who else could do it frankly?). Vidal Benjamin is a true musical activist and relentless flea market digger. He's a DJ at night and a university professor during the day. He is also the curator of the acclaimed "Discosympathie" compilation, which is dedicated to French Boogie – France's answer to Disco.
Last year he released the dusty-fingered-follow up compilation "Pop Sympathie" which focusses more on the French new wave and synth pop. But for now, only Belgian sounds with highlight lyrics for the Flemish listeners at 50min in the mix; A-A-ACIIIIIIIEED
HOWLIN': ACID SWAMP DAYS
Our 2nd mixtape we did for the Antwerp WAV radio: Acid Swamp Days. Recorded in one take on a cold tuesday evening somewhere in the Diamond city.
HOWLIN' INVITES DANIELE BALDELLI
The 3rd invite by Howlin' at WAV is the iconic Italian dj and producer Daniele Baldelli, pioneer of the Cosmic Disco sound. Daniele Baldelli started mixing in 1969, a time where mixing was done without headphones, mixers and pitch controls. The term "dj" was not even invented, there was just that boy that played records. Soon after Baldelli was providing music at Baia Deli Angeli, a poshy big VIP club whose booth was in a glassy elevator. This way he could move up and down, seeing the dance floor on the first level and the other three dance floors upstairs. In the late '70s Baldelli took up a residency at Cosmic, a nightclub by Lake Garda, and rose to stardom with his experimental mixing style.
He combined an extremely diverse range of genres, from European electronica to reggae, synth pop to African folk, often played at improper speeds and mixed with effects and drum machines. Even speeding up vocals at the "wrong speed" on which Baldelli often comments: in Italy, many people don't really understand the english words, so we don't care if the voice sounds like Mickey Mouse. His legendary mixtapes were sold during the weekends and spreaded all over Italy which created real Cosmic fans. Legend says that even the hillsides around the club were parked with kids, too poor to go in but desperate the hear the music from the club.
Balldelli was a true scientist and his sets were based on obsessive research. At home he would try out hundred different records to see which one mixed perfectly with a new track. As he continued experimenting, the heroin and acid flooding the dance floor let tempos creep downwards and his selection grew stranger. How did that sounded? Imo it's best described in Bill Brewster's book: Otherworldy. Dislocated. Unreal. It was as if the music had a different history to the one you knew, like they'd been shopping records on a parallel planet.
There was little sense of individual tracks, you lost any firm ground as elements shifted and merged, as you entered tunnels of EQ and phasing, overweight basslines, as songs exchanged sides with each other and back. It was put together like film music. Wildly eclectic, but not sunny like Ibiza, not gothic like Belgium, in Italy the music was channeled straight from the moons of Jupiter. Cosmic!
The 2nd invite by HOWLIN' is Chris Kontos: photographer, founder and driving force of the great Kennedy Magazine. Some personal notes of mr Kontos on this mix and his magazine: Kennedy started as a personal project back in 2013 with my good friend Angelo Pandelidis. Our aim was to explore stories from people we admired and create a visual diary of things we liked. Our first interview was with American director Whit Stillman which kind of set the pace for where Kennedy would go.
Over the years we managed to interview people like Martin Parr, Pierre Le Tan, Arto Lindsay, Thurston Moore, Thomas Bullock, Joel Meyerowitz Tim Barber, Peter Shire, Ed Templeton and many others. Our 11th issue is being launched at 0fr on January 20th in Paris during men's fashion week. Its out most ambitious issue yet focusing on Japan and spread on 26 pages, is aiming to explore some of the Japans brightest individuals like musician Yoshio Ojima and record collector and DJ Chee Shimizu among others.
This mix was requested by my friends Jan and Patrick over a year ago. To be completely honest I had so many requests for mixes over the last year and I managed to deliver 0. I think im tired of making mixes and also ripping records has become a pain since I changed my hi fi layout at home. There were too many tracks I could put in that mix and took me a while to put it down and finally rip some of those records.
Also I have been buying a lot of cds lately and I never figured how to rip those! I guess I went for a mix with the stuff that I have been listening a lot and played out in 2019 like a track from Khaled that was one of my big highlights. As always a lot of japanese records ended up in that mix and tie in nicely with the theme of our new Japan issue of Kennedy. www.kennedy-magazine.com
BARABAS: UNSPOKEN TRUTH
The mysterious Barbas returns. No words needed. A true beauty this one!
BARABAS: DANCE OF THE DREAM MAN
HOWLIN' SOUNDSYSTEM LIVE AT WONDERLAND
HOWLIN' INVITES JIRO BEVIS
This is a first HOWLIN' guest mix for WAV.Their first quest is Jiro Bevis, a London-based illustrator with whom they have worked together for their current spring summer collection.
Jiro Bevis is a well-known fixture in London's graphic landscape. Taking influence from a multitude of reference points, from '80s teen movies, to his childhood interest in Manga, to the comic
books he used to go through from his dad's vast collection, and many things in between. Jiro also holds down a monthly slot on NTS exploring a variety of sounds from around the world, from UK punk to Japanese
techno-pop. He is also a big lover of the Belgian New Beat area and as the complete Howlin' collection is fully made in Belgium the theme of their collaboration was pretty clear.
SPOTIFY LIST: AB SOUND AND NEW BEAT
For all our made in Belgium pieces we were heavily inspired by new beat and in particular its predecessor: the AB Sound, hence the acid Belgian logo which is on all care labels. For those who are not familiar, new beat is an electronic music genre that flourished in Western Europe during the late eighties and got its origin in Belgium.
There are many different, 'mythical' stories on how this new beat got born, but we like the story of a talented dj called Fat Ronny who was simply too wasted and played 45 rpm records at 33 rpm and pitched them +8 on his turntable. The result was a new robotic sound which was very bass driven. While disco was the big thing he played a hypnotic mix of slowed down
tracks by artists like Severed Heads, PiL, Carlos Peron, The Human Leaque and Boytronic. (If interested, more Ab Sounds here). Together with a group of likeminded dj's they soon created a real cult vibe with tracks like Max Berlin's "Elle et Moi".
Soon after "New Beat" was born and due to the great succes there are tons of bad commercial tracks out there but nevertheless, if you dig a little bit deeper, there is some amazing music to be found from this lost era.


Regular and frequent changes of impellent oil and the oil filter are the most important preventive procedure of routine maintenance of the car, lying in the competence of the mechanic-fan. Its importance is defined by the tendency of engine oils to разжижению eventually that leads to premature deterioration of internal components of the engine.
In spite of the fact that some sources recommend to make change of the oil filter only every second change of oil, composers of the given Management, being based on insignificance of cost of the new filter and relative simplicity of performance of procedure, and also in view of relevancy of brought advantage, advise to change the filter each time at change of impellent oil.
Prepare all necessary for performance of the given procedure materials and tools.
Tools and the materials necessary for performance of change of impellent oil and the oil filter.
For gathering of spilt oil near at hand it is necessary to have near at hand enough of rags, old newspapers or paper towels. Access under the car will essentially be facilitated after posting of the last with the help лебедки, installations on a platform or over a viewing hole, or fixings in the lifted condition by means of props.
At all do not make any works under the car, fixed in the lifted condition only by means of a jack (ов)!
If you are going to start the independent change of oil first in the life and the filter, preliminary familiarise with an arrangement of all components concerning forthcoming operation (the oil filter and a drain stopper). In the course of carrying out of work the engine and sections of system of release will be разогреты to considerable temperatures, therefore it is necessary to think over in advance each movement in order to avoid a touch to hot surfaces.
Warm up the engine to normal working temperature. Time necessary for warming up of the engine is reasonable for spending for preparation for work of all necessary materials and tools. The demanded grade of oil for really taking place conditions can be picked up by means of the information resulted in subsection Recommended greasings and liquids in the beginning of the given Chapter.
After impellent oil will appear heated-up enough (in разогретом a condition it follows from the engine is easier and is better washes away all accumulated in картере шлам), поддомкратьте the car and establish it on props. Remember that safety - above all!
Place all necessary materials, rags, newspapers and tools under the car. Establish the prepared capacity under a drain aperture in the pallet картера. Having capacity remember that in the beginning oil will follow under a certain pressure, but in process of decrease of its quantity, the stream will gradually weaken, changing accordingly the trajectory.
Trying not to touch to разогретым to surfaces of system of release, take advantage накидным or a face key for отдавания the drain stopper which are in the lowest point of the pallet картера. Depending on that, it is how much strong разогрето oil, you can take advantage or not at a finishing stage вывинчивания stoppers of protective gloves.
The drain stopper is in the bottom part of the pallet картера the engine and should be unscrewed by means of a replaceable face head or накидного a key - do not apply for вывинчивания a stopper рожковый a key is it is fraught with a rounding off of corners of a head of a stopper.
Allow to oil to flow down completely in drain capacity. Probably, in process of weakening of a pressure of a stream it is required to move capacity a little.
After oil will stop to follow from картера wipe a drain stopper pure rags. Otherwise, the small metal sawdust which has stuck to a stopper will lead to immediate pollution of fresh oil.
Wipe a surface round a drain aperture and establish into place a stopper, strongly having tightened its key. If available is available динамометрический a key, tighten a stopper with demanded effort.
Move drain capacity under the oil filter.
For a filter reversing take advantage of one of types of special keys (see an illustration). Use of a key of chain or tape type can lead to irreversible destruction of the filter, however it has no special value as it in any case is subject to replacement.
Completely remove the old filter. Be cautious - it will be filled by oil. Merge oil from the filter in capacity.
By comparison make sure of conformity of types of old and new filters each other.
Pure rags wipe a landing surface under the filter on the engine block, having removed from it all traces of oil and stuck a dirt and шлама. Having examined the removed filter, make sure that its rubber lining did not remain stuck to the engine block. If it has occurred, remove a lining from the block (take advantage for simplification of procedure by a small lamp).
Grease a lining of the new filter with a thin layer of pure impellent oil.
Following the instructions of the manufacturer resulted on packing of the new filter, establish last on the engine. The majority of manufacturers warn against use for a twisting of the filter of any type of keys in order to avoid damage of a sealing lining owing to a tightening with excessive effort.
Take from under the car all tools, rags, newspapers, drain capacity, trying not to spill from last oil, then lower the car on the earth.
Move in impellent and find a cover of a mouth of a gulf of oil.
In avoidance разбрызгивания, fill in oil in a mouth through a funnel.
Fill in in the engine about 4 (3,7) l of oil. Wait for some minutes, having allowed to oil to flow down in the pallet, then check up its level on measuring probeу (Section of Check of levels of liquids (each 400 km (250 miles) run or weekly)). If oil level is above mark ADD to (Add), start the engine, having provided circulation on it of fresh oil.
Allow to the engine to work within nearby 1 minute, then switch off it. At once glance under the car and make sure of absence of traces of leaks of oil around a drain stopper and the oil filter. In case of need tighten components.
After new oil проциркулировало on the engine also has filled the filter again check up its level on probeу. If necessary make having added.
During first several trips after change of impellent oil as it is possible pay attention to presence of signs of leaks is more often and regularly check oil level.
The old oil merged from the engine in its present condition to the repeated use is not subject and should be handed over in recycling. Special утилизационные points and car-care centre workshops usually accept working off which after refinement can be used further. After the churned butter will cool down it should be poured in approaching, it is desirable tightly closed container for transportation in place of acceptance.


Are you interested in the Shark Spirit Animal? Then this guide is for you!
The shark spirit animal comes into your life to open the eyes of your mind to the opportunities that exist around you.
However, this spirit totem lets you know that such opportunities require some effort on your part. You must move forward in order to capture them.
One way of taking advantage of these opportunities is by exploring the world around you. The shark spirit animal encourages you to get a hold of your emotions.
When you conduct yourself in an appropriate manner, you will enjoy abundant opportunities. The shark lets you know that the universe is large. As such, you don't have to wait for your blessings.
This spirit guide nudges you to act. Do something to stir up the energy within yourself. Tap into the immense power of the universe.
What is the Meaning of the Shark Spirit Animal?
The shark spirit animal enters your life to teach you how to adapt. The environment around you could be stifling. The shark encourages you to relax and relieve the stress in your life.
The pressures of life can force you to act in an inappropriate way. Actually, you may end up pushing people out of your life.
The shark spirit guide asks you to take care of yourself. He encourages you to practice self-care on a regular basis.
Additionally, the shark meaning in your life has to do with change. This totem helps you to understand that some changes are not good. It calls upon you to hold your ground in order not to disrupt things that are important to your existence.
If you feel that someone – or a situation – is imposing certain changes in your life, don't feel obliged to accept it.
When the shark spirit animal comes into your life, you will have a clear understanding of the changes that you should accept. All the other changes are detrimental to your growth.
They are likely to compromise your security and threaten your sense of personal growth.
The shark spirit guide lets you know that change should not take place just for the sake of it. If you are on the right path, keep going strong.
Also, the shark meaning in your life has to do with your protection. It comes into your life to re-ignite your motivation.
You need to protect what keeps you going.
Furthermore, the shark spirit guide asks you to take care of your health. It's okay to work hard. However, take time off every now and then to relax and nurture your health.
The shark is likely to appear in your life when you have a lot of emotional drama in your life. It fortifies you so that the drama does not engulf you.
What is the Symbolism of the Shark Spirit Animal?
The shark spirit animal in your life stands for power. It enables you to exude superiority, power, and authority.
As such, the shark spirit animal allows you to fight for what you desire. It asks you not to give up in the face of adversity.
Also, the shark spirit encourages you to assert your authority wherever you go.
The shark is a ruthless animal. As such, you have the same trait. But, this spirit totem gives you the self-restraint and patience you need in life.
In a number of ways, the moose spirit animal is very similar to the shark spirit animal. For example, both animals emphasize the need to hone your senses.
The shark spirit guide encourages you to rely on your instincts. They will give you warnings should things start going awry in your life.
Also, the shark spirit guide wants you to pay close attention to the signals sent by people close to you. These signals will act as a guide on how you are to relate to such people. You'll know how and where to set the boundaries of your interactions.
Life's a journey. The shark symbolism teaches you to enjoy this journey. You'll encounter a number of challenges along the way.
Whatever happens, don't give up. Keep pushing until you achieve your goals.
When the shark spirit guide comes into your life, it teaches you to appreciate your strengths. This spirit animal wants you to avoid paying too much attention to your weaknesses.
When this totem becomes your life's companion, you are able to convert your weaknesses into strengths.
The universe has a perfect balance. When you tap into this power, you are able to see the strong point in each of your weaknesses.
The shark spirit guide opens your mind's eyes to this possibility.
People with shark spirit animal are quick to start new projects. Once an idea hits your mind, you have no trouble laying the groundwork and getting the work done.
Additionally, the shark enables you to renew your life when you feel fatigued. As such, you are able to advance quite fast in your professional life.
The shark spirit animal enters your life to warn you against dangerous people in your life. It calls on you to keep such people at bay.
However, don't be afraid to give such people your mind, should they prove stubborn.
Does the Shark Appear in Your Dreams?
When the shark spirit animal appears in your dreams, it's pointing out to your ferocity, hostility, and anger.
The shark exposes the challenging emotional period you are going through. This spirit guide is symbolic of the feelings you need to tame.
Otherwise, you are likely to present a psychological threat to yourself and your loved ones.
The shark spirit dream comes to help you when you are struggling with your individuality. It gives the power to be self-reliant.
As such, you are able to exude more confidence in your relationships.
Additionally, the shark dream may be pointing to an unscrupulous and greedy person in your life. It shows that there's someone who's out to ruin you.
The shark spirit guide wants you to use your intelligence to unearth such a person. Isolate them, and ensure that they are nowhere near your loved ones.
If the shark spirit animal in your dream is circling in the water, it's alerting you that you have some lucrative opportunities in the vicinity.
The shark totem wants you to open your eyes to these opportunities. Act fast and take advantage of it.
People know the shark as a predatory creature. What many fail is that this animal is very peaceable. When it comes into your life, this animal symbolizes your need to be aggressive in your personal and professional life.
The shark spirit guide drives you to form long-lasting relationships. It gives you the intelligence you need to keep peace in such relationships.
The sharp spirit animal lets you know that you can be aggressive without putting off your loved ones.


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The Social Construction Of College Access
Submitted By luckyvegi
The Social Construction of College Access:
Confronting the Technical, Cultural, and Political Barriers to Low Income Students of Color
Jeannie Oakes, John Rogers, Martin Lipton, & Ernest Morrell
EDH 6053
Critique by Mary-Anne Primack
Eligibility requirements for admission into higher education institutions are primarily based on assessments that support the myth of meritocracy – if students would only work hard enough, they will be fairly compensated for their efforts. Oakes, Rogers, Lipton, and Morell (2000) explain that significant increase in diversity in higher education is not likely to be a result of "efforts to mold low-income Latino and African American students into applicants who fit the university's current narrow constructions of eligibility" (Oakes et al., 2000, p. 7). Oakes et al. (2000) posit that the current classification of eligibility represents far more than a "culturally and politically neutral standard of academic excellence that is operationalized through culturally and politically neutral measures such coursetaking patterns, grades, SAT scores, and so on." The authors challenge that a more complex conception of eligibility requirements must be accounted for as they argue that "eligibility reflects social decisions shaped by cultural traditions and political struggles over how "merit" is defined, what indicators or proxies of such merit are legitimate, and the relevance of merit and its indicators to success in the university and to the larger social good." (Oakes et al., pp.7-8)
Commonly held understandings of standardized testing that is "cloaked in the aura of science" do nothing to convey the complexities resulting in the consistent stratifying effects these tests perpetuate. Outreach approaches attempting to close the disparities in achievement between less advantaged communities and privileged groups faces almost insurmountable odds in competing with the obvious but underacknowledged "cultural capital of white and wealthy families" which "masquerades as meritorious "natural" ability, rather than as a function of social privilege" (Oakes et al., p.11).
Oakes et al., discuss the missing element creating a discrepancy between students' performance in conventional college-preparatory and advanced high school courses and the high-level intellectual work in research universities. The authors describe that in rigorous high school classes students rarely engage in "the process of creating or discovering new knowledge – the defining characteristics of a research university" (Oakes et al. 2000, p.22). The seminar discussed by Oakes et al. (2000) included young people in the work of a research university, thereby challenging two notions undergirding the logic of college admissions – "that students must demonstrate readiness before, rather than through, participation, and that student performance on standardized assessments is the most meaningful (and non-biased) indicator of readiness or merit" (Oakes et al. 2000, p.22). In their seminar, Oakes et al. (2001) explored whether students engaging in research
Related Documents: The Social Construction Of College Access
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A goal by U.S. team handball captain Jim Story with one second left in regulation tied the game and the U.S. team scored the final two goals of overtime to beat Cuba, 34-32, for the Pan American Games gold medal and a spot in the 1988 Olympics.
After the game, a brief scuffle broke out between members of the United States and Cuban teams. Police broke up the fight and the U.S. team left the floor to line up for the march into the gym for the medal ceremony.
The ceremony was held up, however, for more than 20 minutes when the Cuban team refused to leave their bench. The Cubans were eventually persuaded to participate in the medal ceremony by delegation chief Alberto Juantorena.
The U.S. women's team also won the gold, beating Canada, 22-20, on a goal by Sherry Winn with 19 seconds remaining. The women's team also qualified for the Olympics with the win.
In the men's game, the United States trailed for much of the second half and was behind, 28-27, after a goal by Cuba's Luis Delisle with 17 seconds left.
A shot by Bob Djokovich sailed over the net, but the U.S. got the ball back with six seconds left and set up the goal by Story, who eluded a Cuban defender and fired in a shot from the side to send the game into overtime.
"I'm still in shock," said Story, at 35 the oldest member of the American team. "You work so hard to get here, it's just unbelievable."
U.S. Coach Javier Garcia said the win before 5,121 screaming fans at the Hoosier Dome was the greatest thing that ever happened to handball in the U.S. It was the largest U.S. crowd ever to watch the American team play.
In the women's game, the Canadians trailed, 20-17, with 8:19 to go, but rallied to tie the score 20-20 on a penalty goal by Michelle Levasseur with 35 seconds left.
The Canadians then went into a spread defense, pressuring the ball, and Winn broke through the middle past two defenders to score from short range.
Maureen Latterner of Colorado Springs, Colo., then forced a turnover and scored on a breakaway to clinch the victory with four seconds remaining.
Canada won the silver medal but was eliminated from Olympic contention. Brazil got the bronze.
Willie Anderson and Jerome (Pooh) Richardson each scored 13 points Sunday to lead the U.S. basketball team into the semifinals with a 105-81 win over Uruguay.
The win was the closest of the five for the undefeated U.S. team, which has an average margin of victory of 29.2 in the tournament.
The United States will play Puerto Rico (4-1) Thursday night. Puerto Rico advanced with a 78-77 win over Panama.
In volleyball, Peru consistently found holes in the U.S. defense and defeated the American women, 12-15, 15-5, 15-10, 15-5.
In the other game, Ana Ramos had five of her 23 kills in the final game as Brazil rallied from a five-point deficit to defeat Canada and earn a place in the medal round. The scores were 15-7, 15-4, 15-12.
American rowers dominated the final day of competition, winning five of eight gold medals, with Paul Fuchs of Greenwich, Conn., giving the United States the Games' medals record.
Fuchs' win in the single sculls gave the United States 285 medals.


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Wind energy a key to energy transition Français
Canadian Wind Energy Association
More than 1,200 gather in Montreal for Canada's largest wind energy conference and exhibition
MONTREAL, Oct. 3, 2017 /CNW/ - Increased utilization of Canada's massive untapped reserves of low-cost wind energy will be critical if this country is to remain competitive in the global shift to a low-carbon economy, industry leaders agreed as the Canadian Wind Energy Association's (CanWEA) 33rd Annual Conference and Exhibition kicked off today in Montreal.
CanWEA 2017, the Canadian Wind Energy Association's annual conference and exhibition attracted more than 1,200 wind energy professionals from Canada and around the world, being held in Montreal, Quebec on Oct. 3 to 5, 2017 at the Palais des congrès. (CNW Group/Canadian Wind Energy Association)
More than 1,200 wind energy professionals from Canada and around the world are attending CanWEA 2017, being held October 3-5 at the Palais des congrès de Montréal. Hosted by CanWEA and Hannover Fairs (Canada), the 2 ½-day event features a dynamic line up of expert speakers on a range of topics that include emerging business development opportunities, wind and energy market trends, industry best practices and technology innovation. More than 110 exhibitors, representing the industry's leading companies in Canada, are showcasing the latest in wind-related products and services on the tradeshow floor.
Keynote speakers include Kim Rudd, Parliamentary Secretary to Canada's Minister of Natural Resources, The Honourable Jim Carr, and The Honourable Sergio Marchi, CEO of the Canadian Electricity Association.
The electricity grid of the future was in the spotlight during the conference's opening plenary session. Independent experts and electricity sector professionals weighed in on how cost-competitive renewable generation sources, rapidly advancing smart grid and storage technologies, shifting consumer expectations, and a global commitment to clean growth are transforming the way we produce and use energy. Panellists also shared insights on how governments and utilities in Canada can lead this transition, noting that Quebec's 2030 Energy Policy links the province's renewable resources to its future economic prosperity. At the same time Alberta and Saskatchewan are moving aggressively to modernize their electricity grids and revitalize their economies by targeting clean energy development and Ontario is about to release its Long-Term Energy Plan (LTEP) that will have to support its efforts to reduce greenhouse gas emissions 80 per cent by 2050.
Wednesday's plenary session will delve into emerging demand drivers for wind, including the rise of electric vehicles, new opportunities in remote communities and northern Canada, the increasing interest in wind energy exports to the United States, and the upsurge in corporate renewable energy purchases. The conference's closing plenary will focus on the electricity market reforms needed to help drive investment to cleaner sources of generation.
The program also features eight concurrent educational sessions, providing insight on how forward-thinking wind farm operators, project developers and electricity system planners can turn change into opportunity, tackling the permitting, resource assessment, and health and safety challenges facing a growing industry, and delving into the operational improvements and technology advancements that will contribute to the sector's long-term success.
"It's becoming more obvious every day that we are on a path to a clean energy future, and that wind energy, as the lowest-cost source of new emissions-free electricity, must play a pivotal role in getting us there. That's why we chose Energy Transition as the theme for this year's CanWEA conference. As the energy landscape continues to evolve, it will not only open new markets for our industry, but create new opportunities for Canada to capitalize on its abundant and diverse renewable energy resources."
- Robert Hornung, president, Canadian Wind Energy Association (CanWEA)
"Quebec was one of the first provinces to adopt wind energy on a large-scale, and by working to develop new markets for its clean energy resources through its export and electrification initiatives, it is once again carving out a leadership role. We're excited to be in Montreal to talk about what's next for our industry as the shift to a more sustainable future takes hold."
- Cory Basil, vice-president of development for EDF EN Canada and Board Chair for the Canadian Wind Energy Association (CanWEA)
Canada currently has over 12,000 MW of wind energy, the eighth largest wind generating fleet in the world. More wind energy has been built in Canada over the last decade than any other form of electricity generation, with installed capacity growing by an average of 18 per cent a year over the past five years. To learn more, please visit the Wind Markets section of CanWEA's website.
Bloomberg New Energy Finance's New Energy Outlook 2017 predicts that nearly three-quarters of the US$10.2 trillion to be spent on new power generation worldwide to 2040 will be invested in wind and solar plants. Wind and solar will make up 48 per cent of the world's installed generating capacity and 34 per cent of electricity generation by 2040, compared with just 12 per cent and five per cent now.
Renewable energy will make up nearly half of global energy supply by 2050, says independent advisory firm DNV GL in its inaugural Energy Transition Outlook.
CanWEA's ground-breaking Pan-Canadian Wind Integration Study demonstrates that provinces across Canada can reliably integrate the large amounts of renewable energy required to meet their environmental and economic goals.
A new Léger public opinion poll in Quebec (available in French only) demonstrates that people in Quebec are strongly supportive of wind technology and are in favour of continuing to deploy wind energy to achieve the objectives of the energy transition.
A new Alberta Supply Chain Study finds that the Alberta government's Renewable Energy Plan will drive $8.3 billion of investment in new wind energy projects in the province. These projects are expected to result in $3.7 billion in local spending and 15,000 job years of employment by 2030.
With wind energy poised to play a growing role in Canada's electricity system, developing a strong and diverse workforce is essential. With that in mind, CanWEA has recently become an Advocate for The Leadership Accord on Gender Diversity in the Canadian Electricity Industry, an initiative of Electricity Human Resources Canada.
About the Canadian Wind Energy Association
CanWEA is the voice of Canada's wind energy industry, actively promoting the responsible and sustainable growth of wind energy. A national non-profit association, CanWEA serves as Canada's leading source of credible information about wind energy and its social, economic and environmental benefits. Join us on Facebook, follow us on Twitter and LinkedIn. Learn more at www.canwea.ca.
SOURCE Canadian Wind Energy Association
For further information: or for interview opportunities, please contact: Lejla Latifovic, Senior Communications Advisor, Canadian Wind Energy Association, Cell: 613-608-8226, [email protected]
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