FacebookTwitterLinkedInEmailPrint分享Ohio utilities are likely to urge an end to the state’s current competitive market for generation and take other actions in the wake of federal regulators’ decision this week to halt wholesale electric deals for affiliates’ less competitive plants.On Wednesday, the Federal Energy Regulatory Commission announced it would require commission scrutiny before American Electric Power and FirstEnergy could enter into deals with their generation affiliates to buy all the power from certain power plants that have been less competitive in the markets.“[T]his Commission has an independent role to ensure that wholesale sales of electric energy and capacity are just and reasonable and to protect against affiliate abuse,” FERC said in its orders.On Thursday, AEP spokesperson Melissa McHenry indicated that the company would now be undertaking a “strategic review” of the plants.The comments track remarks made earlier in the morning by AEP CEO Nick Akins.FirstEnergy CEO Chuck Jones has previously said he would end deregulation of Ohio’s competitive electricity market “in a heartbeat.”Industry competitors, consumer protection organizations and environmental groups have called the proposed deals “bailouts,” because they would require all ratepayers to guarantee sales and a profit for certain power plants, regardless of whom customers choose as their electricity supplier.With ‘bailouts’ under federal scrutiny, Ohio utilities look to legislature With Bailouts Under Federal Scrutiny, Ohio Utilities ‘Look to Legislature’
Court hears insurance staff counsel oral argument April 1, 2002 Gary Blankenship Senior Editor Regular News Court hears insurance staff counsel oral argument Senior EditorAn 11th Circuit judge who ordered insurance company staff attorneys not to use law firm type names on their letterhead was acting within his scope, or exceeded his authority, by interfering by promulgating procedural and lawyer conduct rules.The Supreme Court heard those conflicting arguments March 8 during oral arguments on the case. It also heard both sides say further study could be helpful, including a Florida Bar report that went to the Board of Governors the following week.The issue arose after Judge Paul Siegel last year ordered attorneys from five insurance companies with cases pending before him not to sign court documents using language that implied they worked for an independent law firm if they were actually staff counsel for the company. He also ordered that independent medical experts hired by the defense could not say they were paid by the “law firm” but would have to say they were paid by the insurance company.The insurance companies appealed to the Supreme Court, asking it to use its “all writs” power to override Judge Siegel’s actions. The plaintiff argued Siegel acted within his authority. United Services Automobile Ass’n v. Evelyn Goodman, case nos. SC01-1700, SC01-1710, SC01-1797, SC01-1814, SC01-1886, SC01-1887, SC01-1913, SC01-1980.Miami attorney Arthur England, representing the insurance companies, said Judge Siegel’s orders amounted to a rule regulating the way law is practiced, something reserved for the Supreme Court.“The judge has first created an ethical violation. . . and he’s taken that ethical violation and said, ‘I’m not going to have any pleading in my court that doesn’t have disclosure.’ Is that a rule? Of course, it is,” England said.He, as well as briefs filed in the case, argued Siegel’s ruling could also violate state law which holds in some cases, even though an insurance company is paying any awards, the jury is not told there is insurance coverage. Requiring the lawyers to say they are on staff at the insurance company or independent medical experts to say they are paid by an insurance company could circumvent that law, England argued.Letterhead and business cards used by the insurance lawyers, while containing a firm name, also reveal that the “firm” is owned or part of the insurance company, England and the briefs said, and clients are always given full disclosure that they are being represented by insurance company staff attorneys.Miami attorney Robert Sondak, representing plaintiff Goodman, said Judge Siegel did not exceed his authority and there is no reason for the Supreme Court to alter his action.“Judge Siegel was struggling with two conflicting public policies,” he said. “One was keeping information about insurance companies from the jury, which is proper, and the other is preventing fraud in the court. Judge Siegel was wrestling with them and trying to harmonize them.”But while leaving those rulings intact, Sondak said the court could send the matter to the Rules of Judicial Administration and the Rules of Civil Procedure committees for study. He also said the issue raises unlicensed practice of law issues because of the control insurance companies can exert over their staff lawyers.England asked the court to strike Siegel’s orders, hold as a matter of law that staff attorneys and expert witnesses do not have to reveal the existence of insurance coverage and to allow the use of firm names. He said because there was full disclosure to both clients and the court about the names, there was no fraud.Alternatively, he asked the court to strike the lower court orders and await the Bar’s report.
– Advertisement – Yemoja crops up in my work a lot. I first discovered her when I was living in New York in the 1990s, trying to grapple with being a young mother and having a career — it felt like a real balancing act. I did a piece then called “Cool Maman,” who is balancing actual pots and pans on her head, all white enamelware. I see Yemoja as not only helping me in terms of patience and balance and child rearing but also as a watery, life-giving spirit who nourishes my creative process.For your “Topsy Turvy” show in 2018 at L.A. Louver, you turned Topsy, the enslaved character from “Uncle Tom’s Cabin,” into these fierce warrior girls. You even did a mixtape for the show, “Angry Songs for Angry Times.” How would you describe the source of your anger, and was it tricky for you to channel or unleash it?- Advertisement – – Advertisement – Conking is a type of hair processing where a lot of really toxic ingredients strip the hair of what makes it curl. Early on one of the ingredients was lye. By straightening her hair, this woman was eating the “lye” or “lie,” trying to separate herself from her African-American body, and that’s why I show her head separated from her body. I did a lot of severed heads at one point — I guess I’ve had anger in my work for a while.Do you think it’s fair to say that a survey of your work is also a survey of things Black women do to their hair?Yes [laughs]. I’m a little obsessed with hair. I think part of it is being biracial and very fair-skinned, to the point of being perceived as white; my hair is the one thing that feels like a real connection to my African-American ancestry. And much of my young life was spent going with my mother to salons and going through these hilarious, hair-straightening rituals with my cousins in the kitchen. These figures are defiant but tender; they are beautiful warriors. Do you think about that contradiction? – Advertisement – I think it’s always about a balance, and that comes back to the Yemoja character, balancing so much on her head. A lot of my life has been a balancing act between anger and a kind of serenity, and that’s also reflected in my process. I start by thinking about things, dreaming about things, but the actual work involves chain saws and hammers and knives and blades and a lot of bandages — I get cut a lot. The physical grappling with materials is very aggressive.You have a history of using scavenged materials, whether painting on seed sacks or sculpting with ceiling tin. When did you discover ceiling tin as a material, and what does it give you that you couldn’t get from more traditional mediums like stone or wood?When I moved to New York from Los Angeles in the ’80s, I had a job at the Studio Museum of Harlem, working as a sort of registrar before I became an artist in residence there. Walking to the museum, I saw all of this amazing ceiling tin out on the curb from people renovating townhouses. I would drag it into my studio. On the one hand, it covered up imperfections in the wood sculpture underneath — I was using wood from the dumpster that had holes and cracks. But it also created a kind of skin or armor. I loved the pattern because it reminded me of African scarification, which in some ways is an external biographer, telling us who you are married to or what group you belong to. Your new sculpture for Pomona shows Yemoja, the Yoruba goddess associated with childbirth and rivers, carrying a stack of heavy pails on her head. What does Yemoja represent to you? You come from a family of artists. Your mother is Betye Saar. Your father, Richard Saar, was a conservator and ceramist. Your sister Lezley Saar is an artist. Did you ever consider doing anything else for a living?I really wanted after high school to get out from under the shadow of my mother’s reputation. So when I was studying at Scripps, I worked with Dr. Samella Lewis and was looking to be an art historian specializing in the African diaspora and non-Western culture. I did a dual major: fine arts and art history. I just think, at the end of it, I felt I was better suited to making art than writing about it. It was more gratifying. It was something I had been trained to do all my life. Alison Saar likes to make sculptures of strong Black women standing their ground: broad shoulders, wide stance, unmovable in their convictions. She made a bronze monument of Harriet Tubman that presides over a traffic island at 122nd Street in Harlem. She created a small army of enslaved girls turned warriors, inspired by Harriet Beecher Stowe’s character Topsy for a major gallery show in Los Angeles. And now Ms. Saar, 64, has a new public sculpture on the Pomona College campus, commissioned by the Benton Museum of Art there: “Imbue,” a 12-foot-tall bronze evoking the Yoruba goddess Yemoja.“Imbue” accompanies her biggest museum survey yet, “Of Aether and Earthe,” which will be held in two venues: the Armory Center for the Arts in Pasadena, which plans to open its section in January; and the Benton, in Claremont, Calif., where her show is installed and ready to open when the state’s coronavirus guidelines allow. Below are edited excerpts from a conversation with the artist about her new show and ongoing obsessions. You recently made a benefit print honoring Black Lives Matter, titled “Rise,” which shows a woman making a power fist. Was there a particular source for your image?I looked at a lot of images of women from the Black Panther movement with their Afros and fists raised and then contemporized the hairstyle to say we’re still fighting the same battle. I didn’t want it to be one woman. I love Angela Davis, but there are a lot of other women that don’t get recognized, and I’m paying tribute to them all. Some people see the Black Panthers as militant and frightening. To me, the women were very much involved in education, free food, taking care of the elderly, these incredible community practices that are always being erased by the image of the guy holding the rifles. I’ve always wanted my work not to just be angry but point toward some resolution or express some optimism. But it’s been harder and harder to come up with something positive. After Obama was elected, we started seeing these horrible things bubbling up on social media — about growing watermelons at the White House or casting him and Michelle as monkeys.Since then, with Trump and the white supremacists, things have been getting even darker and more frightening. In “Topsy Turvy,” the last piece was “Jubilee,” a figure cutting her hair off and dancing, removing the social shackles and all the pain we are carrying around. But it’s still a painful piece in my eyes. I basically stopped worrying about putting out a positive message anymore; I felt that it was OK to express being furious. Printmaking is one of the most populist art forms, connected historically to ideas of accessibility and, at times, democracy. Do you see printmaking as a political tool?I’ve never really thought of my printmaking as political but very much about it being populist, accessible and affordable. I love the history of broadsides where people would print out a poem and plaster the city with them, and I’ve done a couple with poets. Your Benton show includes a disturbing sculpture, “Conked,” where a woman swallows her own long hair, made of wire. I take it the title refers to the old-school hair straightening process?
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Associated Press Television News First Published: 2nd September, 2020 07:59 IST WATCH US LIVE LIVE TV COMMENT Brad Miller homered twice and drove in a career-high seven runs, and the St. Louis Cardinals pounded Sonny Gray and the Cincinnati Reds 16-2 on Tuesday night.Miller sparked St. Louis’ six-run first inning against Gray with a two-run double that glanced off the glove of diving first baseman Joey Votto and bounced down the line. He hit a two-run shot in the second, an RBI single in the fifth and another two-run homer in the eighth, clanging a drive off the foul pole in right.Kolten Wong went 4 for 4 and scored four times as the Cardinals set season highs for runs and hits with 23. St. Louis has won three straight games after a four-game losing streak.It was the worst loss of the season for the free-falling Reds, who have dropped three straight and four of five. They have been outscored 33-8 during the losing streak.St. Louis left-hander Kwang Hyun Kim (2-0) pitched five innings of three-hit ball, extending his scoreless streak against the Reds to 11 innings over two starts. No Reds baserunner got past second base against him.Votto greeted Ryan Helsley with a leadoff home run in the sixth. Curt Casali added an RBI double in the ninth.Image credits: AP FOLLOW US Last Updated: 2nd September, 2020 07:59 IST Miller Drives In 7 As Cardinals Pound Gray, Reds 16-2 Brad Miller homered twice and drove in a career-high seven runs, and the St. Louis Cardinals pounded Sonny Gray and the Cincinnati Reds 16-2 on Tuesday night SUBSCRIBE TO US Written By
Facebook0Tweet0Pin0Submitted By: Thurston CountyChamberKey Thurston County organizations have joined forces to push for regional improvements in our area.Improved mobility along Thurston County’s I-5 corridor and the cleanup and recovery of Puget Sound are two areas of focus for the Shared Legislative Partnership.The group was formed in July 2005 under the leadership of the Thurston County Chamber, recognizing some issues require a comprehensive approach for a successful solution.Workgroup members include the Chamber; Thurston EDC; cities of Lacey, Olympia and Tumwater; Thurston County; Port of Olympia; LOTT Wastewater Alliance and Thurston Regional Planning Council.The partners work together on a shared legislative agenda, promoting their causes at both the state and federal levels.