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Adopted by the General Assembly
October 29-November 2, 1997 Dallas
You shall not wrong a stranger or oppress him, for you were strangers in the land of Egypt. (Exodus 22:20) The biblical term ger, translated here as stranger, is in context properly understood as resident one of four groups singled out as deserving of our special concern and protection. The omnibus welfare reform act of 1996 ignores this mandate and denies resident aliens benefits that are granted to those who are citizens, undermining God's commandment that we accord the stranger equal treatment before the law. While condemning this distinction and pledging to work to eliminate it, we recognize our obligation to minimize the impact of the cutoff of benefits on immigrant families, and therefore affirm our commitment to facilitating naturalization efforts.
Following the passage of the omnibus welfare reform act, the number of citizenship applications has more than tripled, reaching over one million applications in 1996. Inevitably, this rise in applications has seriously complicated the naturalization process. In an effort to alleviate a backlog of applications, the Immigration and Naturalization Service (INS) initiated Citizenship USA, a program which increased its staff, improved its technology, and streamlined procedures. In addition, INS began to out-source its services to community non-profit organizations, allowing these organizations to assist applicants and administer the INS citizenship exam.
However, Citizenship USA has fallen under attack. Some members of Congress have claimed that Citizenship USA was motivated by election year an administration effort to speed up and simplify naturalization to gain immigrants' votes. The same critics denounce out-sourcing, fearing fraudulent applications, cheating on exams, and improprieties by service providers. Furthermore, there has been recent controversy regarding the naturalization of immigrants before the FBI has completed criminal record checks. The Fiscal Year 1998 bipartisan budget agreement seeks to ameliorate many of the provisions of the welfare act harshest to legal immigrants and refugees. The budget agreement restores SSI and/or Medicaid eligibility to legal immigrants who are current recipients of either program and to those individuals who were in the US on August 22, 1996 and subsequently become disabled. Despite this positive action, other classes of legal immigrants remain ineligible for most federally funded programs until they naturalize.
In addition to the Citizenship USA initiative, the required citizenship civics exam has become the center of controversy. Many politicians fear that the INS is too lenient in its methods of granting citizenship, arguing that the test questions are too simple and do not adequately measure an immigrant's understanding of the way our government functions. Furthermore, detractors have argued that many test-takers do not demonstrate an adequate level of proficiency in basic written and oral English.
THEREFORE, the Union of American Hebrew Congregations resolves to:
Urge Congress to address problems created by the increasing backlog in processing citizenship applications by:
Supporting the continuation of out-sourcing its naturalization services to community-based organizations, with proper safeguards to ensure against fraud and misuse of power;
Supporting efforts to increase FBI resources to assist in processing immigrants' criminal and fingerprint checks;
Recognize the difficulties faced by immigrants seeking citizenship in the United States and urge, therefore, that any reform made to the required civics and English proficiency exams be made in full consultation with immigrant organizations, service providers, and others involved in the naturalization process;
Call upon UAHC congregations to join with local federations, community relations councils, and other organizations to offer their assistance and help provide tutoring and other services to immigrants seeking to become naturalized citizens;
Call upon UAHC congregations to assist in finding alternative sources of funding and care for those immigrants with mental and physical disabilities who are unable to naturalize and, thus, are ineligible to receive most federal benefits; and
Oppose any legislation to further restrict eligibility for citizenship.


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Programme: LLM Tax Law (Coursework)
04252015 Faculty of Law Department: Mercantile Law
Closing date for applications: SA applicants – 30 September
This LLM is presented annually. A maximum of 20 candidates can be accommodated. It is a specific requirement that the applicant must have completed a module in taxation during the undergraduate studies and the candidate must have experience in the tax environment. The successful completion of the professional examinations to practice as an attorney or an advocate will be recommendations to be accepted on this LLM. If more than 20 candidates qualify to be admitted, the qualifying candidates will be required to write an admissions test during January/February of the year in which the study commences. The test is designed to assess the basic competency of the candidates in respect of tax law and is also intended to equalise the different competencies, degrees and experience of students. The 15-20 students with the highest marks will be admitted to the programme.
A module in research methodology (RHP 801) counting 5 credits (this module must be completed during the first year of registration).
A research proposal (RHP 803) counting 5 credits. The student must submit the research proposal (RHP 803) to the supervisor not later than the end of the first semester of the second year of registration for the LLM degree, prior to commencing with the writing of the mini-dissertation. This period may be extended with the approval of the head of department.
Mini-dissertation. This mini-dissertation must deal with the subject content of one of the modules or a combination of the modules registered for by the student for his/her LLM degree. Any request for an extension of the period for submission of the mini-dissertation may only be granted by the Postgraduate Committee on recommendation of the head of department.
LLB degree or BProc degree or relevant degree from a foreign university that allows entrance to the formal legal profession
A weighted average of at least 65% at final-year level
An admissions examination may be required
The mini-dissertation must comprise 13 000-15 000 words – including footnotes but excluding the list of contents and the bibliography.
The examination copies of the mini-dissertation to send out to the external examiners must be submitted to Student Administration not later than the end of October for the Autumn Graduation Ceremony, end of April for the Spring Graduation Ceremony. A final electronic version must be submitted to Student Administration on or before 15 February for the Autumn Graduation Ceremony, 15 July for the Spring Graduation Ceremony after the evaluation of the examination copies of the mini-dissertation to comply with degree requirements.
Research methodology 801
Planning and organising a research project
Drafting a research proposal: Hypotheses and research question
Theory in research and methodological approaches to legal research
Citation and ethics of citation
Drafting of chapters and presentation
General principles of income tax 801
The basic principles pertaining to gross income
Specific inclusions in gross income – interest, royalties, etc
General principles pertaining to deductible expenses
Examples of allowable and non-allowable deductions – rent, improvements, royalties, etc
Capita selecta pertaining to income tax
Tax administration – an international perspective 802
The impact of the Constitution on tax law;
Tax administration issues within a global context
Indirect tax 803
The basic working of VAT
Output tax
Input tax
Exempt supplies
Zero-rated supplies
Adjustments in respect of change of use
e-commerce and tax
Customs duty and excise tax.
The student must submit a research proposal during his/her second year of registration for the LLM degree to the supervisor prior to commencing with the writing of the mini-dissertation.
A mini-dissertation (MND 804) of minimum of 13 000 words inclusive of footnotes but excluding the list of contents and the bibliography, is required. The mini-dissertation must be submitted to the supervisor not later than August of the second year of registration for the LLM programme. The mini-dissertation must deal with the subject content of one of the modules or a combination of the modules registered for by the student for his/her LLM degree. Any request for an extension of the period for submission of the mini-dissertation may only be granted by the Dean on recommendation of the LLM Committee.

redpajama_set_name: RedPajamaCommonCrawl


March 21, 2013 • With a high-tech gadget, scientists can measure how much flavor is released from foods while we're eating. One British chef uses the device to figure out why we love to dip biscuits into tea. A quick plunge really does make the cookie yummier.


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Трейсі Емін (, нар. 3 липня 1963) — англійська художниця, одна з найбільш відомих представниць групи «Молоді британські митці» ().

Емін Трейсі походить з впливових циганських кланів Ходжкінс і Босвел.

Безліч публікацій у пресі викликані її виступами у п'яному вигляді по телебаченню та інсталяція «Моє ліжко» (My Bed), презентованою в 1999 році на виставці премії Тернера (інсталяція являла собою неприбране брудне ліжко, навколо якого були розкидані особисті речі, включаючи закривавлену білизну і використані презервативи).

Художниця працює в різних жанрах: скульптура, шиття, живопис, інсталяція.

У березні 2007 року Емін стала членом Королівської Академії мистецтв.

Виступала з лекціями у Музеї Вікторії та Альберта в Лондоні, European Graduate School у Зас-Фе (Швейцарія), Художній галереї Нового Південного Уельсу в Сіднеї (2010), у Королівській академії мистецтв (2008),, а також в «Тейт Британія» у Лондоні (2005) про зв'язки між креативністю і автобіографією, роль суб'єктивізму та особистих історій у творенні мистецтва.

У грудні 2011 призначена професоркою малювання у Королівській академії; поруч з Фіоною Ре вона є одною з перших двох жінок-професорок з дня заснування Академії у 1768 році.

Живе у районі Лондона Спіталфілдс у будинку, що датується 1726 роком.

Примітки

Посилання
 Роботи Трейсі Емін на сайті галереї White Cube

Художники-концептуалісти
Члени Королівської академії мистецтв
Англійські художниці

redpajama_set_name: RedPajamaWikipedia


Most people assume that cleaning vacuuming and sweeping is the best way to keep their carpets clean. However, unknown to these people the many spaces within their carpets are nearly unreachable by a consumer-level vacuum cleaner or a broom. So, what is generally left behind is a great deal of debris that goes uncleaned. Over the period of months that can end up harming your carpet. It can become a source of the odor, not to mention viruses and bacteria. That's why it is always a good idea to hire professional carpet cleaning Pembroke Pines.
Which is the Best Carpet Cleaning Company in Pembroke Pines?
Carpet Cleaning Deluxe is the leading carpet cleaning company in the area. The company has a reputation for providing top quality, professional cleaning services. Their services extend to home and business owners alike. Each member of their team is insured, bonded and fully certified. What that means is that they can handle all types of carpet cleaning procedures. Not to mention all kinds of carpets.
Why Hire Our Professional Carpet Cleaners?
One reason to hire our professional carpet cleaners is that of our reputation. Hundreds if not thousands of people have reviewed us. Obviously, they all can't be wrong! But there are many other reasons to consider our services like for instance we are sensibly priced. Instead of charging you top dollar and providing a low-quality service we do the opposite. Most people can't even believe what we charged them after they see the carpet.
We make sure to come up with a cleaning strategy based on the type of carpet. Since each carpet is different in the way, it is made and the material used we can't take a standard approach for each. Fortunately, for us, our years of experience means that we can quickly identify a carpet type and then use the right kind of process. At the end of the day that guarantees a great looking, fresh smelling carpet.
We have never used harmful chemicals to clean stains or wash carpets. It has never been our method of choice unlike other professional carpet cleaners in Pembroke Pines. The reason for that being chemicals not only ruin the carpet in the long-term but they are also harmful to the environment. The methods we use are green, practical and extend the life of your carpet.
Many people have costly carpets that they don't want to entrust to low quality, new services. We understand that after all, it is a huge investment. That said our professionals are qualified to handle all types of carpets. Regardless, if it's an expensive heirloom or something you just purchased. That said depending on the extent of cleaning required we may have to modify our approach accordingly.
If you are looking for a top-end carpet cleaning service that delivers as promised, then we are your professionals. Call us today for a quote or to book a carpet cleaning appointment.
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We have been a customer for several years. Job is always done right. Amazing how they get really bad stains out and make the carpet look great again.
Tom did a wonderful job on our carpet. We couldn't be happier with the professional service. The carpet looks so good. The cost was very reasonable.
Great experience, Tom was my carpet cleaner and he did a great job. Very professional, personable and my carpet is significantly cleaner. Thank you!
Tom made sure to clean the carpets exactly as I requested. He went out of his way to do a really great job. I am impressed!
The price was what they quoted. No surprise up charge for a stain. Tom did what the quote was to clean our carpet. A real professional job. Nice service tech who was honest about everything.
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Get ready for the next house party with the help of the Slushie Maker. Sporting a blue and white finish, this device looks incredibly pretty gracing your kitchen counter. Using this slushie maker is a child's play; all you need to do is add snow along with a little salt in the metal enclosure to achieve yummy slush in no time. You can make a range of your favorite drinks and beverages using this home slush machine. It features sharp blades that give precise and quick results. Experience the comfort a nice cold drink on a hot sunny day with the help of the Slushie Maker.
The Slushie Maker is an amazing device that offers quite a few benefits to make your work in the kitchen a lot easier. This home slush machine allows you to get precise results thanks to the sharp blades that cut through the ice evenly. Once the ice has been cut, add a dollop of your favorite liquid to get your drink ready in a matter of minutes. You can make a number of drinks such as iced tea, iced cappuccino, lemon iced tea, and a variety of fruit juices.
The slush maker machine sports a compact and lightweight design. This design ensures that you can move this appliance around the kitchen without experiencing any discomfort. The compact design fits anywhere and doesn't make your kitchen look shabby.


Enjoy some great British tradition when you wrap this pure merino wool scarf around your neck. Bronte By Moon have collaborated with and have produced under licence this beautiful scarf for the National Trust. Know a man who is hard to buy for? Then this is ideal for him to keep those chills at bay with this fashionable wardrobe piece.


This collection contains the journals of Mark Hill Forscutt from June 1855 to May 1900. They illustrate his religious conversions from membership in The Church of Jesus Christ of Latter-day Saints, to a follower of the Morrisite movement, and finally to a leader in the Reorganized Church of Jesus Christ of Latter-day Saints (now the Community of Christ). The collection also contains some miscellaneous material such as copies of The Saints' Harmony and The Saints' Harp, as well as photographs and other material.
Initial citation: Vault MSS 811; Mark Hill Forscutt papers; 19th Century Western & Mormon Manuscripts; L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University. Following citations: Vault MSS 811, LTPSC.
The materials in this collection were donated in separate installments by three different donors. Several of the journals were donated by Bill Drescher, the husband of Marcine Faunce, a great granddaughter of Mark H. Forscutt, in July 2002. The rest of the journals and several miscellaneous items were donated by Edward L. Faunce, a great grandson of Mark H. Forscutt, in May of 2002. A folder of miscellaneous documents was also donated by Eric Paul Rogers. Those items were given to Rogers by Virginia Job, a great granddaughter of Mark H. Forscutt, in 2000.
Mark Hill Forscutt was born 19 June 1834 in Godmanchester, England. He became a member of The Church of Jesus Christ of Latter-day Saints in 1853 and later immigrated to Utah. There he served as secretary to Brigham Young for a short while before he left the Church to join a group called the Morrisites, led by Joseph Morris. He was given several leadership positions within the Morrisite group. However, when a prophecy given by Morris about the date of the Second Coming went unfulfilled, there was an uprising and Morris was killed. A few years later, Forscutt joined with the Reorganized Church of Jesus Christ of Latter-day Saints (renamed The Community of Christ in 2001), where he became good friends with Joseph Smith III. Forscutt also had significant musical talents from which he wrote, directed, performed, and composed numerous hymns. Forscutt died on 18 October 1903.


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Home Case Studies, Community, LanguagesLanguages connecting culture
Languages connecting culture
March 13, 2019| Case Studies, Community, Languages| VAEAI
THE TEACHING OF ABORIGINAL LANGUAGE PROGRAMS TO KOORIE STUDENTS MEANS THEY NOT ONLY HAVE THE OPPORTUNITY TO EXCEL IN THEIR LEARNING BUT ARE ALSO ABLE TO ESTABLISH A POSITIVE AND STRONG CULTURAL IDENTITY.
Over the last two years Uncle Locky Eccles, an Elder and language holder of the Peek Wurrung tribe of Marr Nation, Gundjitimara in Western Victoria, has been sharing his knowledge of language. Uncle Locky teaches language to kindergarten kids through play-based learning in Warrnambool.
Over two hundred languages, and even more language varieties, were spoken in Australia prior to colonisation.
Many of these languages are no longer in everyday use; some are spoken only for special purposes (such as ceremonies), some languages exist only in manuscripts, some are said to be still sleeping.
This loss of Australia's Aboriginal linguistic heritage is a direct result of contact with English following the arrival of Europeans as well as Government policies and practices during the 19th and 20th centuries which, in effect, prevented the use of traditional languages, particularly on Mission settlements.
Language displacement and loss has particularly affected Victoria and Tasmania, where Aboriginal languages are no longer spoken as the primary means of communication. Even so, most Victorian Aboriginal people are aware of their language heritage, although some may recall only fragments of the language passed down over the several generations since English settlement.
Aboriginal language holders have been and continue to be critical in preserving language in local communities. Supported by formal Aboriginal language programs in recent years, Victorian Aboriginal communities are benefitting from a revitalisation of language and formal mechanisms to ensure language is passed down and maintained for future generations.
Peek Wurrung is one of the 40 dialects of Koorie languages that were spoken across Victoria prior to European settlement. Uncle Locky Eccles is passionate about sharing and dedicating his time and invaluable knowledge of Peek Wurrung language to his community.
This year Uncle Locky has enrolled in a Certificate III in Learning an Endangered Aboriginal Language and uses this as another opportunity to promote and share language with his peers.
The journey for the revival of Victorian Aboriginal languages has been a long one driven tirelessly by Aboriginal language holders and local Aboriginal community.
VACL and VAEAI, together with the Victorian Curriculum and Assessment Authority (VCAA), are committed to language revival amongst communities and implementation of language programs within state primary schools and Kindergartens. This collaboration supports Marrung: Aboriginal Education Plan 2016-2026 actions to increase the number of Koorie language programs in Victorian kindergartens and schools.
"Language is at the foundation of culture"
These language programs include both school-based language programs and the Aboriginal Languages Training Initiative.
Through the school-based language programs over 1,000 students in the state are learning an Aboriginal language with a total of 13 schools and soon to be 30 kindergartens.
Thornbury Primary School was one of the first in Victoria to implement a Koorie language program, teaching Woiwurrung, the native tongue of the Wurundjeri people. This program has now been running for six years.
Another success story is Bruthen Primary School in East Gippsland, Victoria which in November 2018, won the Outstanding Koorie Education, Victorian Excellence in Education Award, for their inclusive Culture and Language program. The program has been embedded in all aspects of student learning – a truly collaborative effort between students, staff, parents, community Elders and Koorie engagement support officers.
The Aboriginal Languages Training Initiative has taken shape over the course of the last twelve months. The Victorian Aboriginal Education Association Incorporated (VAEAI) and the Victorian Aboriginal Corporation for languages (VACL) in partnership with the Department of Education and Training has engaged the Victorian School of Languages (VSL) to deliver a Certificate III in Learning an Endangered Aboriginal Language and development of curriculum resources for a Certificate IV in Teaching an Endangered Aboriginal Language. The course is designed using an empowerment learning model, which gives learners the tools they need to build knowledge.
It is through these programs and the unfaltering dedication of Elders and other Aboriginal language holders like Uncle Locky that allow knowledge to be shared and assist in the preservation and teaching of Aboriginal languages within the education and training systems across Victoria.
I Have Your Back
Marrung leads the way in Victoria


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This was the last film I had to watch from Melville, other than some three-star film called Manhattan where he's also the lead character. Dirty Movie was rated a 3.7 and should have just missed the cut off, but with how much I enjoyed Melville's other films, so I'd figured I'd take a look at what came after such his strong body of films - The Samurai ('67), The Red Circle ('70), Army of Shadows ('69), etc. These are some of the most beautiful and cerebral crime films I've ever seen. Still, from cover alone, I was expecting some failing evolution to more modern and popular styles, per the likes of 70s James Bond or The Getaway ('72); though I'm not sure why. While the narrative matches these expectations, Melville retains his cool blue aesthetic, offering a fun opening scene, and later one of the most ridiculous special effects sequences I've ever seen in my life.
One of the first issues is that the movie is not called "Dirty Money", but Un Flic which means "A Cop", which is a little bit cooler, but I also think something is getting lost in translation. During a cool blue and hazy morning, four men rob a bank, botching the job up, leading us to Officer Eduardo Coleman (Alain Delon) as he hunts down one of the robbers Simon (Richard Crenna), while they share the same girlfriend Cathy (Catherine Deneuve). Like any cerebral crime film, there's complexity and complication between the characters, but while Melville's other movies have unique characters doing and saying interesting thing, shot with beautiful photography, this film felt more superficial in all aspects.
Even after I accepted that this was simply one of Melville's weaker works, it entered into one of the most absurd sequences I've ever seen. While Simon attempts to land on a train from a helicopter in order to steal drugs from somebody for reasons I didn't understand, rather than abiding by the limitations of what looks plausible, Melville utilizes a model train and model helicopter to execute the wide shots of the wild stunt. It looks so goddamn terrible, seriously as though out of a thrift store trash pile - that my brain almost had to convince itself it was cool in order to suspend disbelief. Once Simon enters the train it recovers a bit, but phew - it was one of the most bizarre scenes I've ever seen from someone I consider one of the greatest filmmakers who's ever lived.
Turns out that this was Melville's last film, as he would die a year later of a heart attack. He's the type of guy who you wonder what else could have been done if he lived through the eighties or even early nineties. It makes me want to revisit The Samurai, which was the first film I ever saw of his, watching it in my french class and not really understanding what I was seeing. Anything to recover from this one.


It's Monday morning. You wake up to find yourself feeling dreadful again. What happened? It was not a particularly bad weekend; there was nothing stressful about the past few days, but there it is – that Monday morning anxiety. It feels very unpleasant to wake up like this. Our first instinct is to try everything in our heads to rid ourselves of this dread. You might succeed in numbing out the feeling briefly, but that doesn't last long. Anxiety always strikes back. Since you haven't been able to free yourself from the grip of your distress, what if, instead of chasing it away every time your chest constricts, you turned around, met your anxiety eye to eye and listened to what it had to say?
It is my firm belief that anxiety arises out of an existential crisis. Now, what does that mean? To put it simply, you may be experiencing difficulties in certain key areas of your life and the anxiety may be a sign that is pointing to this underlying problem. This conclusion might sound really obvious. "Of course!", you would say, "My life is difficult because I've been struggling with this anxiety for years". It is almost easy to conclude that our lives are not in line because of our underlying everyday struggle with anxiety, but it is also very possible that the anxiety is the result of an unbalanced life.
What do I constantly worry about besides my anxiety?
Is my chosen line of work really the right path for me?
Are my intimate relationships in the best shape possible?
Have I come to terms with the limitations of life or am I struggling hard to change the unchangeable?
Am I still troubled by unhealed wounds from my past?
Chances are, there are areas of your life that require a closer look. Even if your anxiety were to disappear suddenly tomorrow, some of your existential problems would still persist. Sure, you may briefly feel a relief and that may cause you to, for example, continue the job that you've never liked, but it won't be long before you start to feel some sort of deep, underlying, unpleasant feeling again.
Anxiety, as Dr. Barry Wolfe says, is a signal that the usual defenses against unbearably painful views of the self are failing. Rather than confronting the reality that your marriage is failing, or that your career has not panned out, or that you are declining into geriatric decrepitude, or that you are going to die — hard existential truths to reckon with — your mind sometimes instead produces distracting and defensive anxiety symptoms, transmuting psychic distress into panic attacks or free-floating general anxiety or developing phobias onto which you project your inner turmoil.
Ask yourself, what areas don't feel right in your life right now? Make sure that the problems you unravel exist in the present. Don't waste your time with problems of the past that make no sense currently, though it is possible that traumatic events from the past that were not resolved or healed have the potential to show up in the present and they are definitely to be counted. It is important to bring these psychic distresses into your field of awareness. Most often these may be events or circumstances that we do not want to wrestle with. We may be trying to avoid confronting certain hard truths about us and our lives. For instance, it is very common for people to not acknowledge that their marriage is failing because of the consequences it can have for them and their children. Stossel talks about a college sophomore who trained all his life to become a concert pianist. He was beset with panic attacks when his professors told him that he wasn't talented enough to realize his dream.
However once a person is able to recognize their underlying issue and come to terms with the truth behind them, their anxiety symptoms go away.
Interestingly, a number of recent studies have found that at the moment an anxious patient begins to reckon consciously with a previously hidden psychic conflict, lifting it from the murk of the unconscious into the light of awareness, a slew of physiological measurements change markedly: blood pressure and heart rate drop, skin conductance decreases, levels of stress hormones in the blood decline. Chronic physical symptoms—backaches, stomachaches, headaches—often dissipate spontaneously as emotional troubles that had previously been "somaticized," or converted into physical symptoms, get brought into conscious awareness.
It is even possible to be aware of your problem, but you might be trying to circumvent the core issue by working around it. You might not want to live in a bustling metropolis but instead yearn to move to the countryside. Since that may come at the risk of losing your job, you might desperately try to bring in peace and quietude through daily activities such as calming guided meditations or a lunch-time stroll through a small park. Nevertheless, you may feel anxious whenever your urban tranquility is disturbed by the unavoidable dissonant rhythms of city life. I get it, it is not easy to throw away a life you have tried to build for several years, but if this is not where a big part of yourself wants to be then frantically trying to bargain with the unworkable areas of your life is going to be harder in the long run.
People readily buy into the notion that they may have a biological propensity towards anxiety, but find it hard to admit that their anxiety could be a result of not coming to terms with their reality. It is relatively easy to blame genetics and continue to be tortured by panic attacks than to make the necessary change in one's life. I'm not saying that there's no biological basis for anxiety, but it is unwise to entirely blame your genes without any introspection about the root of your worries. Once you admit these truths to yourself and make the required changes in your life, you'll start to feel lighter and there might not be a need for this underlying anxiety.
On some occasions, it might be very easy to put a finger on the source of the distress and imbalance in our being. Other times, our tired mind has trouble figuring out the root of our existential challenges. Life would be simple if our minds had the ability to easily tune into our feelings (both pleasant and unpleasant) and interpret what's behind them, but in the midst of strong emotions the mind often cannot think straight. It is not uncommon to associate benign activities such as going out for a walk to be the cause of dreadful feelings. We avoid talking to people or going out because we can't handle the anguish of being with someone and our anxiety at the same time. The result is that we lose out on life. Instead of making unsound associations in figuring out the cause of our anxiety, let's try to understand the existential aspects of our lives and see if we can find out whether anything is out of alignment.
You can make a great start by listening to your anxiety and seeing it as a signal to issues that demand your attention and awareness. If, on the other hand, you are struggling to figure out where the instability in your life is coming from, find someone to work with your anxiety. When you are in the cycle of worry and feeling anxious, bringing some clarity through external help may be just what is needed. Talk to that person, not just about your anxiety but also about other issues that may be bothering you. It might be easier for a professional to make the connection between the various problematic areas in your life and their manifestations as anxiety or any other mental illnesses. With the right guidance and support and by implementing the necessary changes in your life, you will begin to feel the loosening grip of anxiety over time.


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Lancaster shrine saved by Nigerian religious order
Conor Gaffey
A procession led by Bishop Michael Campbell to the Ladyewell Shrine (Ladyewell Shrine archives)
The Diocese of Lancaster's official shrine is to be taken over by priests from a recently-established Nigerian religious order.
Bishop Michael Campbell announced yesterday that St Mary's, Fernyhalgh and the Ladyewell Shrine would be run by two young priests from the Institute of the Holy Family Fathers and Brothers of the Youth, which was founded in Nigeria in 2002.
Devotion to Our Lady of Fernyhalgh dates to the 11th century and the shrine also houses relics of St Thomas Becket. It faced an uncertain future after the retirement of parish priest and shrine director Fr Tom Hoole was announced recently.
Bishop Campbell said: "Thankfully, my decision to ask the Institute of the Holy Family Fathers and Brothers of the Youth to assist us here in the Diocese means St Mary's, Fernyhalgh and Ladyewell Shrine is secured and safeguarded for the future."
Bishop Campbell added that the parish and shrine will remain open daily for prayer and to receive pilgrims. The shrine is located four miles from Preston and is also frequented by Anglican and Orthodox pilgrims.
A diocesan spokesman said: "The Bishop has again 'looked to the peripheries' and found a new, vibrant and skilled religious community to ensure the future sustainability and patrimony of St Mary's Fernyhalgh and Ladyewell Shrine; so precious to local Catholics, the wider Diocese and to the pilgrims from other parts of the UK."
In January this year, another church in the Diocese of Lancaster, St Ignatius Church in Preston, was taken over by the Syro-Malabar Catholic community after it was closed for two months due to a shortage of priests.
Bishop Michael Campbell
Ladyewell Shrine
St Mary's Fernyhalgh and Ladyewell Shrine
Little Sisters of the Poor to leave Lancaster after 135 years
Bishop Michael Campbell said he was 'deeply saddened' at the news
'Boko Haram will soon fizzle out', says Nigerian bishop fighting terrorism with the rosary
Bishop Oliver Dashe Doeme of Maiduguri said the terrorist group have been pushed back
Dan Hitchens
Nigerian army says 300 hostages rescued from Boko Haram
Those released do not include the girls kidnapped from a school in Chibok a year ago


While we were at PAX East we spent some time with Headup Games, and the first title we got to see from them was Colt Canyon. This particular game looks like an old-school Atari throwback as you will play a cowboy in the middle of a western landscape who's partner has been kidnapped and you must save them. Throughout the game, you'll be dealing with twin-stick controls as you'll pick up two main weapons of choice and search for ammo, which is scarce as hell. You'll be dealing with rustlers, killing parties, natives, and even animals as you attempt to survive in the harsh wilderness they've created.
Honestly, the game isn't half bad, but the difficulty level of the demo we tried makes us kind of iffy on the game. Like, we're not bad at these kinds of games, but it's clear that when the enemy in front of you dodges a shotgun blast at point-blank range, either we're terrible or the game is playing a little unfair. We died so many times just trying to get from our campsite to anywhere else with supplies that it was ridiculous. Colt Canyon is set to be released sometime in Q3 of 2019 for the PC, PS4, Switch, and Xbox One, but right now it feels like the game needs a little more work and the difficulty cranked down a hair. Because if we can't even get very far in a demo to talk about it, there's a problem.


The pre-intermediate level presents the elements that are often considered 'common sense'. Things that seem obvious to Advance dancers but took years for them to master. Secrets you supposed to know or somehow figure them out on your own. Those essential details that you need to know, practice and muscle memorize to incorporate into your Tango are introduced during PRE-INTERMEDIATE course.


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Charity did not break...
Charity did not break law in giving information about late abortions
News Roundup [abridged Versions Appear In The Paper Journal]
BMJ 2005; 331 doi: https://doi.org/10.1136/bmj.331.7519.716-c (Published 29 September 2005) Cite this as: BMJ 2005;331:716
Clare Dyer, legal correspondent
A leading British provider of abortions did not break the law when it told women who wanted late terminations about a clinic in Spain that would perform them, a report by Liam Donaldson, the chief medical officer for England, concluded last week.
Professor Donaldson investigated the charity the British Pregnancy Advisory Service (BPAS) after a newspaper reported that it was illegally referring women to Spain for abortions after 24 weeks' gestation, the limit in Britain for abortions for "social" reasons.
Professor Donaldson has decided that BPAS did not break the law by telling women about the Spanish clinic. But he criticised it for giving out the clinic's telephone number too readily and for not giving appropriate advice to women seeking a late abortion.
He said the charity, which is responsible for around one in four of the abortions performed in Britain, should urgently review the way it handles requests for late abortions, including:
Revising its protocol for late abortion cases;
Reviewing the training needs of its staff;
Putting arrangements in place to ensure that all calls concerning late abortions are passed to an experienced counsellor; and
Setting up a system for monitoring the quality of advice given.
A few days after Professor Donaldson's report was published an unnamed GP from the West Midlands was said by a newspaper to be under police investigation for taking her daughter to the same clinic for an abortion at 31 weeks. According to the story in the Daily Mail (Sep 24: 11) the mother and daughter were to learn this week whether they would face criminal charges, after being arrested last February on suspicion of conspiracy to commit child destruction.
Professor Donaldson pointed out in his report that women living in one European Union member state are entitled to travel to another member state to have an abortion.
He recommended the development of a "national best practice protocol" for dealing with late abortions and called on primary care trusts and other abortion providers to identify delays in accessing services and to reorganise their services so as to carry out abortions as early as possible.
The public health minister, Caroline Flint, said: "The Department of Health has no reason to doubt that BPAS provides a good, safe, and legal abortion service under the Abortion Act 1967 and therefore sees no reason why it should not continue to provide this service to women, nor why primary care trusts should withdraw any contracts they have with BPAS.
"We will now be working with the relevant professional organisations, the NHS, and BPAS itself to ensure the CMO's [chief medical officer's] wider recommendations are implemented."
Ann Furedi, chief executive of BPAS, said the charity received around 100 inquiries a year from women seeking advice about late abortions. "The real scandal of late abortion is that services nationally are inadequate to meet the needs of the small numbers of women who require these procedures," she said.
Clare Dyer
Dyer Clare. Charity did not break law in giving information about late abortions BMJ 2005; 331 :716
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Q&A: Westwood senior Erin Wilson enjoying roller coaster ride
Wilson says each celebration is better than the last, and the best advice is to give everything you have.
Q&A: Westwood senior Erin Wilson enjoying roller coaster ride Wilson says each celebration is better than the last, and the best advice is to give everything you have. Check out this story on northjersey.com: https://njersy.co/2ADs1nF
Darren Cooper, Local Sports Columnist, Local Sports Columnist, @VarsityAces Published 3:51 p.m. ET Nov. 13, 2017
A Varsity Aces exclusive for Fall National Signing Day: Westwood gymnast Sara Buchner is joined by family as she officially inks her letter of intent to the University of Oregon for acrobatics and tumbling. Greg Tartaglia/NorthJersey.com
From October: Westwood senior Erin Wilson (20) gets her head on the ball.(Photo: Mitsu Yasukawa/NorthJersey.com)
Westwood Cardinals girls soccer coach Eric Pfiefer calls Erin Wilson the vocal leader of his team that plays in the Group 2 semifinals Tuesday. Westwood has had a remarkable season filled with last-second heroics, and Wilson has been in the middle of it all. NorthJersey.com Local Sports Columnist Darren Cooper chatted with Wilson via text about the Cardinals season and the emotions of a big win.
First question has to be how hard is it to play soccer when it's so cold, you can't feel your toes?
Playing soccer when I can't feel my toes is not as bad as you'd think. You have so much adrenaline when playing that the pain isn't your main focus anymore. The cold may not be the best soccer weather, but if you're running, you're staying warm.
How did you get started playing soccer?
I've been playing soccer since I was four years old. My dad had played soccer his entire life, then my older sister was playing soccer with my dad as he coach. Soccer has always been a part of my life, as you can tell.
Did you play anything else?
Soccer was my first sport, but I played T-ball the spring after I started soccer.
Where did your dad play?
He played soccer in college at Saint Leo University.
Was he your first coach?
Yes, he was my first coach.
You guys have played so many close games, what has that been like?
Every close game that we have had is an emotional roller coaster on so many different levels. The adrenaline is high and our coach reminds us about our Refuse to Lose mentality.
Can you get used to the roller coaster?
I wouldn't say we ever get used to the emotions involved with close games.
Are each of the celebrations better than the last?
Our run right now in the State Tournament, every celebration is even bigger than the last. The celebrations get bigger because we are keeping our season going for as long as we can. This team is so amazing and we have all worked so hard this season to get where we are.
Football: Westwood dominates Ramsey from opening kickoff
Girls soccer: Waldwick's season ends one step short in sectional final
What happens in the celebrations? Is there like a dogpile, or a designated person to run to?
When we win an important game we all run to each other and basically tackle each other. We are so excited to keep the season going and the emotions are flying. Meghan Riedel when she scored the game-winning goal against Hawthorne was the epitome of what it's like to pull through our team in a battle to keep our season going. She was so excited to have scored and we all rushed towards her to thank her for it.
What's your favorite part about playing soccer?
There are so many different parts about soccer that make it my favorite, but the feeling after you win a huge game tops it all. Your emotions are everywhere, but then it all turns into overall happiness. Winning isn't everything, but it makes a day a whole lot better.
What's the best advice you've gotten from a coach or a friend about playing soccer?
Leave everything you have on the field. It will make a world of difference.
Do you ever get grief about your red hair?
I think almost every day.
Is your nickname, like, "Red"?
That's one of the nicknames. I get teased a lot, but this year not so much, people see that I don't care as much anymore about what they have to say.
I think it's awesome.
It definitely makes me stand out more when college coaches are looking for me on the field.
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Top 10 most beautiful hiking trails in Canada
Canada is a big place. It seems obvious, but it bears repeating. Because of its sheer size, there's a staggering amount of scenery to take in, whether on foot or from behind the wheel.
If road trips are more your speed, the All-New Volvo V60 can help make your trip something to remember. A voice-command navigation system will help you keep your eyes on the road while reaching your destination, and the ample cargo space will make sure you have everything you need once you get there.
But to see the best Canada has to offer, you're going to have to go on foot. Don't worry; these breathtaking Canadian hiking trails are worth the effort.
The Pukaskwa Coastal Trail
For this one, you'll need to take advantage of the Volvo V60's spacious storage and pack some camping gear. A recommended week-long, 60km hike, this trek through Thunder Bay's Pukaskwa National Park will wear you down in parts, but the extra exertion pays off. You'll see gorgeous gorges and waterfalls, cobblestone beaches, weathered granite, and sandy coves.
The Newfoundland Tablelands
A desert? In Canada? And in Newfoundland, no less? The east coast's Tablelands are a geological marvel, the result of tectonic shifts that have left the land barren but beautiful. Billed as a hike two billion years in the making, this hike along the Earth's mantle will expose you to beautiful peridotite rock and vegetation that could only exist under such unique circumstances.
Hike the Hamilton Falls
We often think of Hamilton, Ontario, as an industrial town, but it's actually filled with incredible stretches of nature. Claimed by some to be the waterfall capital of the world, Hamilton has more than 100 waterfalls in its city limits, and their proximity to one another along the rocky Niagara Escarpment means you can see more than a handful of them in a day. We'd start with the Iroquoia Walk, a short 3.7-kilometre hike that takes you past seven beautiful waterfalls.
The Pesuta Shipwreck Trail
December 1928. 90 years.
That's how long the Pesuta has sat shipwrecked on the shores of the Haida Gwaii. And because it's centred on the edge of British Columbia's Naikoon Provincial Park, going on a hike is the only way to see it. Luckily, the hike offers more than just the rare experience of seeing the old ship; at about two hours both ways, this incredible trek will take you through the rainforest and along the scenic Tlell River.
Grey Owl Trail, Manitoba
Not even the controversy surrounding conservationist Archibald Belaney (who took the name Grey Owl after fraudulently assuming an aboriginal identity) can taint the beauty of this Manitoban trail. Culminating in the cabin he lived in with his pet beavers, it's clear to see that Belaney's efforts were in good faith: this 17km hike is filled with prospering animal life.
Opal Hills Hike
This Jasper, Alberta, hike will take your breath away, but not just because of how strenuous it can get. Early on, the Opal Hills Hike will challenge you with steep, kilometre-long climbs, but it won't be long before you're rewarded with wildflower-filled meadows and breathtaking views of Maligne Lake. This hike is so beautiful that even the picturesque drive to it comes highly recommended.
Lake Agnes Teahouse, Lake Louise
The only hike on this list that ends with a nice cup of tea, this Alberta hike stretches from Lake Louise to Mirror Lake to Lake Agnes, and it rightly centres itself on the quaint tea house found on its mountainous shores. But the journey's worth talking about, too, because the 8km hike features elevated views of crystal clear lakes—three of them.
Killarney Provincial Park
The trails of Georgian Bay's Killarney Provincial Park are art. Literally. The park is protected because members of the iconic Group of Seven fought to preserve its beauty, and it's been the subject of more than a few of their classic paintings. It doesn't take a week-long hike to see that—though if you're looking for a challenge, the park's La Cloche Silhouette Trail can offer it. Hikers looking for a shorter but still satisfying trek should experience "The Crack," a slice in the quartz cliff with a view you'll need to see to believe.
Long Range Traverse in Newfoundland
Gros Morne's Long Range Traverse might be the most scenic hike in Atlantic Canada. A backpacking hike that will take you at least six days, it's also one of the more challenging ones. But as with the Pukaskwa Coastal Trail, the experience, not to mention sights, are more than worth the effort. Along the way to Gros Morne's peaks, you'll spot foggy fjords, arctic plants and unbothered moose.
The Valley of 1000 Devils
This remote Saskatchewan hike isn't as menacing as it sounds, but it does have its challenges. Dry, hot, and with no drinkable water, this is a hike you'll need to come prepared for, but if you do, you'll be treated to one of the more unique trails in the country. It's here that the first dinosaur bones were discovered in Canada, and it's not out of the question that you'll stumble upon a fossil or two on your trek. If not, you'll still likely be blown away by the red-clay hoodoos strewn across the land.
Next StoryBest holistic health retreats in Ontario


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WRITER OF THE WEEK: Wax Fang
Louisville, Kentucky-based psyche-rock outfit Wax Fang is Scott Carney, Kevin Ratterman and Jacob Heustis.
by American Songwriter April 20, 2009, 10:14 am
Louisville, Kentucky-based psyche-rock trio Wax Fang is Scott Carney, Kevin Ratterman and Jacob Heustis. They've toured with likes of Spoon and My Morning Jacket. They've recorded in the likes of Ardent Studios and in a funeral home. DIY to the bone, they released La La Land last year via their own label, Don't Panic Records. Lead singer/songwriter Scott Carney took a few minutes to answer some questions for our Writer of the Week interview.
Who are your favorite singers, past and present? And when/how did you start singing?
I started singing when I was very young, too young to remember really. I used to sing myself to sleep at night, much to the chagrin of my sister, who slept in the next room. I would learn songs I saw on MTV and heard on the radio and when I was sent to bed, I would swing myself violently back and forth, slamming my face into my pillow to the tempo of whatever song I was singing and I would just belt it out until I had no energy left and I fell asleep. Where there weren't words, I would imitate the guitar or keyboard melody with my voice. I did this for an embarrassingly long time. I think my sister still holds it against me.
Some of my favorite singers, past and present, are: Frankie Valli, Roy Orbison, Dion DiMucci, Sam Cooke, John Lennon, Neil Young, Brian Ferry, Mark E. Smith, Jim James, Antony Hegarty and Matt Pelham, to name a few.
When you're writing, are you working through the vocal and guitar arrangements at the same time? How does this process work for you?
Sometimes. Every song sort of dictates to me how it wants to be written. Some songs start with a lyric and/or vocal melody, some with a guitar line. Many songs began with a drum beat and/or a bass line. It all depends on the type of song I'm writing. I don't write in any sort of linear fashion. I'm always bouncing around from song to song. I am also usually producing and arranging in my head as I write. You might say I have trouble focusing. I work in this way until I have a group of songs that are close to being finished and then I force myself to go through them one at a time until they are done.
Could you describe the impetus behind your songwriting on La La Land?
Hmmm… it's hard to say. I was almost an entirely different person then. I was very depressed at the time, a heavy drinker, having serious anxiety issues and I think, more than anything else, music was therapy for me. Musically speaking, I tried to write things that made me happy, things that were simple and enjoyable to play. It was essentially escapism. That might explain why so many of the songs on that album were written in the major key and revolve primarily around the three chord theory. On the other hand, I was counter balancing this light and fluffy music with lyrics that reflected my anxieties at the time.
Who are some songwriters who inspire you?
Off the top of my head… Neil Young, Robert Pollard, John Lennon, Lou Reed, Stephen Malkmus, Bob Dylan, Beck Hansen, Brian Wilson, Frank Black, John Fogerty, Kurt Cobain, David Bowie, Roger Waters, Tom Waits, Andrew Rieger (Elf Power). The list goes on…
Do you write on your guitar? How do you keep track of your ideas for songs?
Yes, I write primarily on the guitar, though, lately, I've been writing on the piano quite a bit. In the past, I've kept track of ideas either in a notebook, in some crude form, or just in my head. I recently started recording ideas into my cell phone. It sounds awful, but it serves its purpose.
What gear do you use to record demos? And live?
At the moment, I'm either working at home, tracking through a small Mackie board to an ADAT, or at a friend's place, through his TL Audio board and some borrowed Motu converters into a PC computer setup running Nuendo. The few live recordings we've done have been made with pieces of our drummer, Kevin Ratterman's, studio (the Funeral Home), his PC setup, those same Motu converters I mentioned earlier and whatever gear is at venue we're playing.
Name your top five albums of the moment.
1. The Features, Some Kind of Salvation
2. Gavin Bryars, The Sinking of the Titanic
3. Neil Young, On the Beach
4. Patto, Patto
5. Penguin Café Orchestra, Penguin Café Orchestra
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Lyric of the Week | Wax Fang > April 20, 2009


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Susan Elia MacNeal
Margaret Tracey works on the fundamentals with Boston Ballet School student Daniel Goldsmith.
Should your students know their ABCs (Agrippina Vaganova, Bournonville and Cecchetti, that is), or focus on only one ballet technique?
Until about 30 years ago, there were firm do-not-cross lines drawn between the various ballet techniques. Russian dancers, trained in Vaganova technique, didn't touch Balanchine's American style; Danish dancers, trained in Bournonville technique, stayed away from Vaganova. It used to be that members of The Royal Swedish Ballet could plausibly claim they "should not be dancing George Balanchine's Theme and Variations, since 'we don't really dance like that,' i.e., speedily, with accentuated footwork," as Helena Wulff recounts in Ballet across Borders: Career and Culture in the World of Dancers.
Nowadays, no dancer would dream of saying such a thing, since companies typically perform a potpourri of works by different choreographers, from different eras, drawing on many different techniques. As ballet companies move toward a more universal style, the best way to prepare your students for the diverse challenges they'll face is with high-quality training—no matter the style (or styles). But will grounding your students in a specific ballet technique give them an edge? What are the benefits of training that exposes students to a wider range of styles, versus training based in a single technique?
Today's ballet companies perform a huge range of styles. A single program on Boston Ballet's 2012 lineup includes Florence Clerc's staging of Michel Fokine's Les Sylphides (above), based in Russian technique; George Balanchine's Symphony in Three Movements (center), which uses Mr. B's distinctive style; and Christopher Wheeldon's Polyphonia (bottom), a contemporary ballet that incorporates aspects of several techniques.
Although each ballet technique corresponds to a nationality, there is a danger in simplifying them. For the book What Is Dance? Readings in Theory and Criticism by Roger Copeland and Marshall Cohen (1983), critic Anna Kisselgoff wrote a piece entitled "There Is Nothing 'National' About Ballet Styles"—a sophisticated overview of the various ballet techniques—and argued: "Rather than fall back on dubious national stereotypes to explain why one ballet company accents its works differently from another, why not admit that each style derived from the individuals who have shaped that company?" Kisselgoff has a valid point—and one that still applies to today's ballet world, in which a Dane (Peter Martins) runs New York City Ballet, home of the Balanchine style, and a Balanchine disciple (Nikolaj Hübbe) runs the Royal Danish Ballet. Training your students in the Bournonville style in the hopes that it will help them find jobs in Denmark, or the Vaganova method to give them a leg up in Russia, is usually unproductive.
What about contemporary choreographers, whose works make up a good deal of the modern ballet troupe's repertoire? Do they prefer dancers fluent in many ballet styles? Choreographer Roger C. Jeffrey recently created a work entitled a soliloquy among many on Philadelphia's BalletX. Jeffrey, a modern dancer, was confident that BalletX's dancers could master his choreography—even though they came from different backgrounds. "I worked with one dancer who was a Balanchine boy," he says. "He had a very fluid torso—a lot of freedom in his hands and voluptuous movement—that was wonderful to work with. Of course, for some of the more modern movements, he had to watch me, just like playing Simon Says. But dancers are flexible now."
Even if they've received their training at the Kirov Academy, or School of American Ballet, or a school with Royal Academy of Dance examinations? "In my experience, those teachers are the keepers of the flame," Jeffrey says. "The Balanchine people, the Vaganova people —they're hardcore. But dancers now are also taking yoga, acrobatics, karate, even break-dancing," which help them develop a more sophisticated sense of body awareness. "So at the end of the day, a Balanchine dancer can relate to, say, Mark Morris choreography. It's a different way of moving, but there's the same sensitivity to music."
The Kirov Academy's Nikolai Kabaniaev, one of those keepers of the flame, believes that focusing on a single classical technique—in his case, the Vaganova technique—will teach students the discipline and attention to detail they need to conquer many styles. "If you train a student in a single system that is thorough and detailed, you get a dancer who can do almost anything," he says. "The well-trained classical dancer is both the most versatile and the most desirable to ballet companies." He also emphasizes that none of the techniques exist in a vacuum. "These are methods evolving with time and every new generation," he says. "Today's Vaganova technique is infused with new teaching ideas from all over the ballet world." And, he adds, the techniques are inherently connected: Agrippina Vaganova worked with Enrico Cecchetti, and George Balanchine, like Vaganova, trained at the Imperial Ballet School of Russia.
Margaret Tracey, a former New York City Ballet principal trained in the Balanchine style, is now the director of the multidisciplinary Boston Ballet School. When asked about technique, she replies, "It's a big question. Parents want to know, 'What technique are you going to teach my child?' Like the Suzuki method of violin instruction." But rather than focusing on a specific technique, Tracey, like Jeffrey, emphasizes the importance of ballet training that includes nonballet classes. "A dancer trained at the Boston Ballet School can move with speed and musicality," she says. "They have ballet class, yes, but also modern, character dance, Pilates. What we teach is the technical foundation for a dancer in the 21st century."
Ultimately, the style question might be more theoretical than practical: The majority of today's artistic directors are simply looking for strong dancers. In fact, a company of dancers with different backgrounds—some trained in one style, some in many—is often better off for it. The members of Corella Ballet Castilla y León, founded in 2008 by Madrid-born ABT premier danseur Angel Corella, are drawn from various schools and companies around the globe. But the result isn't a messy melting pot of a company; it's a wonderfully eclectic group with its own distinctive flavor. "I've been lucky to dance with the Kirov, La Scala, New York City Ballet and others, and I can see that each has something wonderful to offer," Corella said to The New York Times, "so I don't want to have a particular type of dancer. It's the diversity of bodies and minds that makes us so special." DT
Susan Elia MacNeal is a writer and editor. Her debut novel is due to be published in April 2012.
Photos from top: by Rosalie O'Connor, courtesy of Boston Ballet and American Ballet Theatre; by Gene Schiavone, courtesy of Boston Ballet


It is easy to find beauty between Boston and Nashville when you combine the brilliantly complex sounds of Destry. The two-piece outfit of Michelle DaRosa and Tyler Odom will be releasing their album, Waiting on an Island, May 3.
Both singers are specialists in bringing out the heart from within the music, conjuring a gorgeous effervescent balance between the two of them. Their songs resonate with organic warmth that defines their sound.
Michelle DaRosa and Tyler Odom have known each other for the better part of ten years but it's only been in the last two that they have gone from friends to band mates. Both of them experienced success in previous musical acts, Straylight Run and Northstar/Cassino respectively, but their time together in Destry has brought them in a different musical direction.
Old fans and new were introduced to the project with their debut release "It Goes On" in late 2009. The duo believes it is their new record that they recorded in the summer of 2010 that will showcase their capabilities with Destry.
The songs are dreamy, upbeat, 60's pop beauties that are equal parts charming and engaging. If "It Goes On" was an introduction, then "Waiting on an Island" will be a band-defining album of work that will allow Destry to stand on its own.
Waiting On An Island is an album steeped in hazy dreams, sunny days and the in between. The result of this work is a gorgeous reverie of sound.
Stand out tracks being "Don't Break My Heart" which laces a happy-go-lucky, melancholy narrative about the return of painful love which DaRosa sings lead on and "Into The Rain" which Tyler sings about the lulls at the end of a relationship.
Having played shows with Jack's Mannaquin, We Shot The Moon, The Narrative, O'Brother and more, Michelle and Tyler will also be hitting the road this spring.


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Q. What did you think about your playing today? How well did it go?
ANDRE AGASSI: Well, I think that -- I think that a lot of times, matches depend on how well you play, and a lot of times it depends on how you compete; how you focus; how you move your feet, and I felt like today was one of those days where, you know, the wind moving as much as it was, it was just important to move your feet and not make careless errors and get the early lead in the set; I did that. I got a little bit careless when it was 4-0 in the second, but I still managed to stay in control of the match.
Q. Two questions: First, how is your father doing? And second, this is the anniversary of your first year working with Brad Gilbert; how would you assess your relationship after your year now? First, tell us about your father.
ANDRE AGASSI: I think he is doing good. I tried phoning him today, but he was out of the room for some X-rays, and I will speak to him in a few minutes. He is hoping to get out of the hospital today, which would be nice. And the past year with Brad has been incredible. I mean, if this next year goes as well, they are going to have to come up with a new ranking system because I will move another 30 spots.
Q. Andre, you played Pete twice this year, potential third round here. Men's Tennis is heightened because of this. Has the 1-2 rivalry changed, or affected your outlook and your attitude right now on the Tour?
ANDRE AGASSI: Yeah, I mean, when I show up here to the office and I notice that he got off the court and played pretty well, I definitely am a little bit more inspired to go out and play well. It is, I think -- you know, there is a few guys that are capable of pushing each other to higher levels, and Pete and I think do that for each other and I think the game benefits as a result of that.
Q. How important is it for you to be No. 1?
ANDRE AGASSI: It is important for me to be the best that I can and I believe that is No. 1, so I really want to achieve it. But I mean, just to squeak to No. 1 is not what I am hoping for. I am hoping to be the best player in the world for the next few years; that is the mindset you have to have, and so you -- even if I were to take over No. 1 soon, it wouldn't have the impact that it is going to have a few years from now when I look back and know that I have maintained it because winning the big tournaments is the most important thing and usually if you are doing that, the rest is taking care of itself.
Q. Will it make any difference to you if you reached No. 1 in a match where it is not against Pete?
ANDRE AGASSI: I mean, ideally, I'd like to be playing him in the finals of French to become number one. That would be my hope, but just because I mean, just incredible the amount of -- I mean, you don't experience anything better than that in this game is to have a situation like that, and -- but, you know, that is why I think No. 1 isn't really the issue; at least, at this stage. To end the year No. 1 is a bit more of accomplishment then to get to No. 1, but to win these tournaments is what it is all about. To win the French -- I think, Pete would give up his No. 1 ranking if somebody guaranteed him a win at the French because he wants to win it, and so do I and so it is having your priorities. So being No. 1 doesn't have that kind of priority as it does winning the Grand Slams and I think the reason why is because, you know, if Pete loses and then I had just -- maybe I will be playing a third round match to be No. 1, maybe not this week; maybe the next; maybe not that week, maybe the next so I mean, that is not really, I think, where either of our attention is.
Q. Andre, your comments on Davis Cup and the team and can you comment on why you decided to play?
ANDRE AGASSI: Well, we got together. We were talking about it for a while; all had gone through our mixed emotions with it. I have certainly gone through that for the past few years. I think just in discussing it over and over again, how we have me, Pete, Jim, Chang, Todd Martin, I mean, we got so many good guys that it is kind of a disappointing thought to not go over there with a very strong team, you know, and it has been awhile since I have played Davis Cup and I feel with Les Snyder, that changes are going to happen and I am starting to believe in it. And I think the more we just communicate on it, the more we realize the importance of it. It is definitely your fondest memories. I know that to be the case from McEnroe and most other players.
Q. I know this is a ways off, but are you looking forward to playing the Olympics?
Q. You didn't play in the past?
Q. Any reason why you think it is something you want to do now?
ANDRE AGASSI: Well, you are stressing my memory. I think Courier played.
Q. Pete Sampras, and Chang.
ANDRE AGASSI: I think, if I remember correctly, at that stage they were picked ahead of me. But it's definitely -- I think as you get older, you realize the importance of it and something that I am definitely looking forward to.
Q. Andre, are you surprised how well you and Brad got on, considering it was rather kind of an arrangement made not through by accident, rather than design?
ANDRE AGASSI: I am not going to say I am surprised. I am certainly glad that it worked out that way and I am well aware of the fact that there is more to just coaching than just what you know. It is having the ability to be able to -- it is not how much you know. It is how much your student learns. And sometimes there is a big difference between those two things and Brad has communicated his ideas very clearly and just our personalities really work well together and I can't say it is a surprise because I didn't assume that it would be different, but I just kind of tried to stay objective about it and it is nice to see, you know, it was -- I knew it early on that it was going to be a good relationship and it hasn't let me down on any level.
Q. Will you be introducing some new clothing here or coming up with anything else?
ANDRE AGASSI: Will I be?
ANDRE AGASSI: Did you watch the match?
ANDRE AGASSI: Yeah, I did that.
Q. Did you wear -- you haven't worn that before?
ANDRE AGASSI: In the Nike ad? It is was probably a black and white. It is the same outfit; different color. So if it was a black and white picture, it looks the same.
Q. Andre, what is your schedule going up to the French?
ANDRE AGASSI: I go Davis Cup; a week off; Tokyo; Hong Kong; a week off; Atlanta; Hamburg; two weeks off; French Open.
Q. When did you decide to accept to play Davis Cup?
ANDRE AGASSI: Last week. Is that it? Thanks.


Im a retired Fed with a wife currently still with the Govt, both age 50.
We are thinking of placing all her TSP contributions ($19K Elective / $6K Catch Up = $25K) into the TSP Roth, taking advantage of tax free growth. That said, we need to know what that means for us and taxes, since we would be going from a pre-tax contribution to now an after-tax contribution. I can not make contributions to my TSP or convert to Roth but my wife still can.
Retired in 2015 and never took advantage of TSP Roth. Recent changes in our AA has us at a TSP break down of 40% F, 40% C, 20% S, giving us 20% of total portfolio in bonds.
We are high earners and will place us in the new 24% bracket.
How hard would the tax consequence be today for the tax free growth benefit in the future?
Roth TSP and Required Minimum Distributions (RMDs).
In a nutshell, the whole question comes down to a comparison between what tax rate you will pay on Roth contributions now versus what tax rate you will pay on Traditional withdrawals in retirement.
If the rates are the same, then there is no advantage to the Roth (caveat: if you are maxing all tax-advantaged accounts then there is a small advantage to Roth when tax rates are the same). If the tax rate on withdrawals in retirement is higher, Roth has the advantage. If the tax rate on withdrawals in retirement is lower, Traditional has the advantage (see caveat above, where the Roth advantage is on the order of 5% in the tax rate).
You say that you will be taxed 24% on Roth contributions. What will you be taxed on withdrawals in retirement?
I note that you are fairly young. When does your wife plan to retire? If it is soon, you may be in a low tax bracket for a number of years where you can do Roth conversions. That is, you save 24% on Traditional contributions now. Then, when you are both retired, you convert your Traditional holdings to Roth holdings, paying just 12%. This, of course, depends on having sufficient head room in the 12% tax bracket. If your living expense needs put you in the 22% tax bracket, then there isn't much advantage.
Currently, you cannot just move just your Roth TSP to a Roth IRA, all withdrawals are taken pro rata from both Traditional and Roth (note that employer contributions are always Traditional). However, the TSP has indicated that within a year or so, you will be able to separately withdraw Roth.
We talk of possible FIRE in 6 yrs at age 56/57, leaving both careers, drawing only my pension, and bridging income with our taxable acts. With the current tax laws we expect to be in the 22% then, unsure but think at RMD age we would remain in the 22% bracket (or pushed into 24%). So its unclear if there is an advantage for us, if possible staying in same bracket.
Are you also maxing Roth IRA's for each of you?
We cant fund Roths due to income levels but we do both max out 401K/Thrift with catch ups currently.
If this ends up being true, then Roth and Traditional are about the same for you. And, since it appears that you don't have any Roth holdings, it might be advisable to put your wife's TSP into Roth, for a few years at least.
If there was a larger gap between the two tax brackets (now at 22% vs 24%), it would provide more incentive to do a more careful analysis.


text:
"Papa's Got a Brand-New Bag: The Current State of Hip Hop"
https://theccc.org/wp-content/themes/osmosis/images/empty/thumbnail.jpg 150 150 The California Copyright Conference The California Copyright Conference https://theccc.org/wp-content/themes/osmosis/images/empty/thumbnail.jpg January 14, 2020 January 10, 2020
15433 Ventura Blvd. - Sherman Oaks
Date(s) -
"PAPA'S GOT A BRAND-NEW BAG: THE CURRENT STATE OF HIP HOP "
PRESENTED BY THE CALIFORNIA COPYRIGHT CONFERENCE
This panel takes an in-depth look at the Hip Hop genre…delving into its humble beginnings as a genre fighting for chart recognition. Then, on to its legal battles, and finally to it overtaking rock as the most popular genre among music fans. You'll hear from a strong group of hip-hop movers-and-shakers.
6:15 PM Check-In ▪ 6:30 PM – 7:30 PM Cocktail Hour ▪ 7:30 PM – 9:00 PM Dinner & Panel Discussion
15433 Ventura Blvd. Sherman Oaks, CA 91403 ($5 parking available at venue)
– Moderator –
James Leach — VP, Creative Services/West Coast Operations | SESAC
– Panelists –
Tuff Morgan — Vice President of A&R | peermusic
Kevin Gilliam aka DJ Battle Cat | Record Producer, Rapper, Singer-Songwriter
Thomas Louis Jones III aka Rapper Big Pooh | Rapper
TuneDaRuLa | Record Producer, Singer-Songwriter, Engineer
Che Pope | Record Producer
As one of SESAC's top execs for its West Coast operations, James Leach has played a prominent role in the growth of this performing rights organization. Since joining SESAC in 2001, Leach helped launch their Los Angeles office and he has established a solid reputation as a respected music executive who is an advocate for both songwriters and music publishers.
Leach has an extensive background in the music business, having worked as a music publishing exec, music supervisor and music industry consultant. He began his career as an intern at Famous Music before securing a position at Michael Jackson's prestigious ATV Music Group. At ATV, James spent the next eight years handling catalogs which included The Beatles, Sly & The Family Stone, Little Richard, Michael Jackson, eventually running the company as Director of Creative Affairs. Also, during this time James worked with a variety of artists and songwriters including SWV, Brownstone, Keith Crouch, Skylark and Harmon & Troy to name a few.
Following his work with Michael Jackson, Leach formed his own music consulting firm, Leach Entertainment. He returned to Famous Music as Director of Creative Affairs/ Urban Music, where he was responsible for signing hit writer/artist/producer, Akon.
Leach entered the music supervision field, serving as Music Consultant & Coordinator for the groundbreaking urban TV series, "New York Undercover." He later worked as Music Supervisor for Magic Johnson's Fox Television show "The Magic Hour," and for two years as a Music Supervisor for the On-Air Promotions department of Fox Television.
At SESAC James has signed and worked with many talented songwriters/publishers such as Danja, Harvey Mason, Jr., DJ Dahi, Ab-Soul, Gabe Roland Jacob Luttrell and the legendary George Clinton to name a few. As V.P., James is leading SESAC's ever expanding West Coast presence, as well as exploring new business strategies for the digital music/media convergence.
Tuff Morgan | Vice President of A&R | peermusic
Tuff Morgan started as an artist on Capitol Records with a Top 10 album. From there, Morgan became the A&R for Jheryl Busby (Motown) and Brian Turner (Priority), then a writer, and now the VP of A&R for peermusic. At peermusic, Morgan has had the success of publishing records with artists such as Ella Mai, Drake, Chance the Rapper, Rihanna, Justin Bieber, Justin Timberlake, J.Lo, Sam Smith, Beyoncé, and indie bands like Cigarettes After Sex, to name a few.
Kevin Alexander Gilliam known to most as DJ Battlecat is a native of California—South Central to be exact. His musical gift was nurtured as a youth, which developed into him playing the drums. His career started in the '80s as an original KDAY mixmaster. He developed a signature sound and style that is a progression from the early '90s "G-Funk" sound pioneered by himself, Dr. Dre, and Warren G. An early '90s project, "Bangin' on Wax" helped to propel his career onto the Billboard charts, which led to producing an RIAA-certified gold album for Def Jam Records' first West Coast artist—Long Beach's very own, Domino. Since then he had worked on endless collaborations with such talents as Snoop Dogg, Xzibit, Dr. Dre, Debra Cox, Faith Evans, Tyress, Kenny Lattimore, and Raphael Saadiq, across the worlds of Hip Hop and R&B.
Currently, DJ Battlecat has branched into scoring for TV series for Universal and Sony doing the most watched Biggie and 2Pac on USA. He was lead DJ and assistant program director for Dr. Dre's "The Pharmacy Radio" on the Beats1 radio station on Apple Music. He also co-hosts the show with Xzibit, DJ Pooh, Wyann Vaughn, Eddie Francis, J.Rocc, and Dr. Dre himself. He previously serving as musical director for the Soul Train Awards in 2014 and 2015 and DJ'd for Usher's live "BET Experience" concert in Los Angeles. He and his wife have formed their company Nu Shoe Entertainment to continue his legacy of great music as well as releasing new and innovative entertainment projects, including YG, TY$, Problem, Mykestro, and Anderson .Paak.
Thomas Louis Jones III, better known by his stage name Rapper Big Pooh, is an American rapper, who, along with fellow rap artist Phonte, is a member of the acclaimed North Carolina hip hop group, Little Brother. In addition to numerous records and EP's by Little Brother, Pooh released a solo album in 2005 entitled Sleepers to positive critical review. His first break came from Beni B of ABB Records, and then with Atlantic Records.
Always moving forward, and as he says, "…providing the world with dope music," he appeared on the Little Brother download-only mixtape entitled And Justus for All, mixed by DJ Mick Boogie.
He released a new interim "street" album, The Delightful Bars, with four slightly different versions of the album available, including one iTunes exclusive "Candy Apple" edition, which contains 13 tracks, each featuring different artwork.
TuneDaRuLa is a music producer and songwriter who plays five instruments. Raised in a musical family, he fell in love with music in church and eventually became a music director and keyboardist for several churches. At 18 years old, he received a Grammy nomination for Best R'n'B Album for El Debarge. After taking the time to perfect his craft, Tune is now one of the most versatile producers in the game: Hip-hop, Country, EDM, Pop/Dance, Trap, R'n'B, Tropical House, Rock, Alternative.
Now as an established producer/songwriter/engineer in the music industry, TuneDaRuLa has worked with several well-known artists, including Swae Lee, Rae Sremmurd, Jason Derulo, Jeremih, The Weeknd, Quavo, French Montana, Poo Bear, Netflix, Kehlani, Tori Kelly, Teyana Taylor, Davido, Victoria Justice, Young Thug, Jordin Sparks, TI, and many more. Plus, he works with new artists to find their sound and assist with their overall music direction. Through his vision, he has found success by aligning with the world's greatest talent in music production, songwriting, artists, and business executives alike.
Che Pope is a Grammy award-winning American hip-hop producer from Boston, MA. Pope is also the former president of G.O.O.D. Music. He is perhaps best known for producing Grammy-nominated "Bound 2" by Kanye West, as well as executive producing the compilation album Cruel Summer and co-executive producing, West's Yeezus.
Questions? Email us at questions@theccc.org
Advance RSVP (via PayPal by 2pm, Friday 1/10/20):
CCC Members $50 per person | Non-members $65 per person
Walk-Up Dinner (pay at the door, no prior RSVP):
Students: $50 per person — must show College ID at the door [contact us]
– No refunds –
Cash bar only (no credit cards accepted)
Dinner Menu:
Your Choice of Entree
Mesquite Grilled Chicken
Blackened Salmon with Citrus Butter
Please make your dinner reservation by 2pm on Friday, January 10th, 2020.
Walk-up guests are welcome, but may not be served their first choice of meal. We accept cash, check or credit card payment at the door. Reserve your meal with PayPal or credit card (PayPal account not required).
Attention Attorneys: This activity has been approved for Minimum Continuing Legal Education Credit by the State Bar of California in the amount of one and a half (1.5) hours. The CCC certifies that this activity conforms to the standards for approved education activities prescribed by the rules and regulations of the State Bar of California governing minimum continuing legal education. Attorneys who wish to register for MCLE Credit must include their state bar number with their reservation. Please remember to sign the sign-in sheet and obtain a certificate when you arrive at the meeting.
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"Songwriters in the Round"


LOCH SHELDRAKE, N.Y. – Rock Valley (Ill.) defeated Rochester (Minn.) 88-75 in Saturday's NJCAA Division III Men's Basketball Championship Game at Paul Gerry Fieldhouse, clinching its second national title in three seasons.
Sophomore LT Davis led the Golden Eagles in scoring, racking up a game-high 25 points on 7-of-14 shots from the field – including three three-pointers. The guard hit 8-of-9 shots at the free-throw line, adding five rebounds and three assists to the winning effort.
Rock Valley sophomore center Elijah Williams posted 21 points and a team-high seven rebounds, while freshman guard Kooper Glick contributed 14 points, six rebounds and two steals. Sophomore guards Mo Jackson and Dalton Payton came off the bench to score eight and six points, respectively.
The Golden Eagles connected on 56 percent of their shots in the title game, going 28-for-50 from the field as a team. Rock Valley's range was put on display as the team hit 8-of-15 three-pointers. Despite shooting 45.2 percent from the field, Rochester pulled down eight offensive rebounds and scored 16 second-chance points.
Freshman forward Marquise Walker recorded a double-double for Rochester, tallying 15 points and a game-high 11 rebounds. Yellowjackets sophomore guard Demetrius Cady scored a team-high 16 points in the defeat.
Averaging 17 points, 5.3 rebounds and 2.3 assists in three games, Davis received tournament MVP accolades. Jackson was the lone Golden Eagles selection on the all-tournament team.
Entering the tournament as the top seed, Rock Valley began its run to the title with an 81-66 victory over No. 8-seed Bunker Hill in the opening round. The Golden Eagles locked up a spot in their third consecutive national championship game with an 87-65 semifinal win against No. 4-seed Nassau (N.Y.).
Winning its program's second NJCAA championship, Rock Valley gained redemption after falling 67-64 to Richland (Texas) in the 2015 title game. The Golden Eagles won their first national championship in 2014.
Photos courtesy of Sullivan County Athletics.