Triple promotion is perfect for ChCh

first_imgIN a thrilling game against their main division two rivals, played with plenty of aggression and no small measure of skill, the Christ Church XV emerged resoundingly victorious. This win means that they have secured promotion for the third successive season.The match was electric from the start, with a powerful run from the kick off by Christ Church prop Chris Hughes setting the tone for a solid forward display from his side. At the beginning of the game the Worcester fringe defence was tested to the limit by the strength and dynamic running of the Christ Church pack. However, despite this period of dominance, points were hard to come by as Worcester tackled hard, with plenty of committment. Their first real scare came when the Worcester wing dealt poorly with fly half Ashley Gillard’s kick, allowing his opposite number Chris Cole to steal the ball and make nearly 70 metres before being hauled down. Cole continued to look dangerous, and it was his menacing running that brought the first breakthrough, a score touched down by full-back Jamie Holdoway on the left touchline after an excellent break. When this was converted by sure-footed Gillard, Christ Church felt they had gained just reward for their dominance. Worcester came back strongly however, exerting pressure on the Christ Church line, but some excellent tackling right on the line by open-side Ian Horn denied them a try. The importance of this missed opportunity was heightened when Christ Church captain Christopher Perfect finished off a period of sustained pressure to bring the scoreline to 12-0. However, the effort being put in by the Christ Church side was starting to tell, and when a couple of sloppy penalties were conceded, Blues footballer Lucian Weston stepped up to show off the full range of his skills. He converted both, and suddenly the game was right back in the balance. The Christ Church try-line was under siege, and when Worcester scrum-half Ben Battcock finally burrowed over on the stroke of half time, the successfully struck conversion gave them a lead of a single point. The momentum seemed to have swung Worcester’s way, and when Ian Horn was sent to the sin-bin for persistent infringement the game looked to be Worcester’s for the taking. However, the Christ Church forwards dug in for a supreme effort, and when Dan Barnes went over for his team’s third try while they were still down to 14 men, it seemed to change the complexion of the game. It was at this point a Christ Church victory was secured. Despite the loss of inside-centre Duncan Chiah to a nasty head wound, the controlled rugby that they played during the last twenty minutes allowed them two more tries, including a second for Dan Barnes, securing their victory.Captain Chris Perfect was pleased with his side’s performance, telling reporters “It was a good win against a good side, and we will look forward to playing them again next season” He appeared enthusiastic about his side’s prospects for the next season, and looks forward to testing his side against the very best in college rugby. The disappointed Worcester side will be looking for a solid performance next week in order to secure their own promotion hopes, however Christ Church can start to plan their assault on the top flight of college rugby.last_img read more

Last Call Wrestling Tournament Attracted Families From Near and Far

first_imgBy Ian CrowleyThe Ocean City Junior Wrestling Program hosted the “Last Call Wrestling Tournament” on Sunday. The event garnered over 2000 visitors to our town as well as over 400 wrestlers. “This is our tenth tournament,” said Carl Wanek, Vice President of the Junior Wrestling Program. “We started with under 200 wrestlers, and today we’re at over 440.”This event brings the community together and has been organized over the years by Greg Young, Carl Wanek, Brenden Gheen, the Godfreys, as well as the late Tom Oves. This is the only Jr. Wrestling Tournament this weekend during the High School States and allows younger children to get some final practice in before the Junior States next weekend.There are six different weight classes, and going from lightest to heaviest they are Tots, Novice Bantam, Bantam, Midget, Junior, and Intermediate.  When asked if he was nervous, one kid said he felt like he was in the Super Bowl as he got ready to grapple in front of the huge, cheering crowd. The action on the mats was fast-paced and exciting, as each kid was matched up fairly. Win, lose or draw, a fun and memorable time was had by all the participants.This event is a refreshing spike in business for the local store owners during the slower winter months, and signals that we’re close to the start of the next summer. The parking lot surrounding the High School was packed for most of the day, and there was a noticeable amount of traffic on the boardwalk as more and more stores begin to open up to serve the visitors.Ocean City Boy Scout Troop 32, led by Scoutmaster Dean Mitzel, color guarded the event. The Ocean City Fire Department was also on hand to provide first aid and to show off some of their fire-fighting equipment to excited kids. Without the countless volunteers and participants, this event would not be possible, and it goes to show the rationale for Ocean City being called “America’s Greatest Family Resort.” We look forward to seeing you at next year’s tournament.Editor’s Note: Ian Crowley is an Ocean City resident, a seventh-grade student at the Intermediate School, a Boy Scout and a valued regular contributor to OCNJDaily.com.last_img read more

Beck Announces Red Rocks Date With Preservation Hall Jazz Band

first_imgThis July, Beck will be headed to Morrison, Colorado, to play the legendary Red Rocks Amphitheater. New Orleans’ Preservation Hall Jazz Band will join Beck on July 11th for support, making for an exciting and a bit eclectic bill. Tickets for the show go on-sale April 14th, at 10 A.M. (MST) on Friday morning here.Additionally, PJHB shared a live video earlier today of “Santiago” from their upcoming album So It Is. You can watch “Santiago” performed live at One Eyed Jacks below:So It Is is due out April 21 via Legacy Recordings. The record will mark the septet’s second release and will feature all-new original music, inspired by their 2015 life-changing trip to Cuba.Bandleader/composer/bassist Ben Jaffe details the influence in this statement, “In Cuba, all of a sudden we were face to face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one – we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.”The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory.Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city’s Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.So It Is Tracklist:1. So It Is2. Santiago3. Innocence4. La Malanga5. Convergence6. One Hundred Fires7. MadPreservation Hall Jazz Band Tour Dates:4/13 – Solana Beach, CA – Belly Up Tavern4/14 – Indio, CA – Coachella Music Festival4/15 – Pittsburg, CA – California Theater4/17 – Seattle, WA – Neptune Theatre4/18 – Portland, OR – Aladdin Theater4/20 – Los Angeles, CA – Largo at the Coronet4/21 – Indio, CA – Coachella Music Festival4/23 – Asbury Park, NJ – Paramount Theatre4/25 – New York, NY – Highline Ballroom5/7 – New Orleans, LA – New Orleans Jazz & Heritage Festival6/3 – 6/4 – San Francisco, CA – Colossal Clusterfest6/9 – Manchester, TN – Bonnaroo6/24 – Pasadena, CA – Arroyo Seco6/30-7/2 – Rothbury, MI – Electric Forest7/28 – 7-29 – Camden, NJ – Xponential Music Festival7/11 – Morrison, CO – Red Rocks Amphitheatre w/ Beck8/5 – Kaslo, BC – Kaslo Jazz Festivallast_img read more

Jill Johnson appointed dance director

first_imgThe Office for the Arts at Harvard (OFA) and Harvard’s Music Department have announced the appointment of Jill Johnson as director of the OFA Dance Program and senior lecturer in the Department of Music. Johnson, a 23-year veteran of the dance field as a performer, choreographer, educator, and producer, succeeds Elizabeth Weil Bergmann, who retired from the post after 11 years of service. Johnson assumes her duties at Harvard beginning July 1.“We are thrilled with the appointment of Jill Johnson as Harvard’s new dance director,” said Jack Megan, OFA director and co-chair of the dance director search committee. “Jill has distinguished herself as a performer on international stages, as a restager of William Forsythe’s works, as an innovative choreographer, and as a teacher who truly inspires and draws out the best from her students. Her energy and vision for dance at Harvard has excited all who have met her, and we can hardly wait to begin the next phase of Harvard dance under her leadership.”Formerly on the faculties of Princeton University, Barnard College at Columbia University, and New York University’s Tisch School of the Arts, Johnson is a graduate of Canada’s National Ballet School. She was a dance soloist with the National Ballet of Canada and a principal dancer in choreographer William Forsythe’s company Frankfurt Ballet for 10 years. For the past two decades she has staged Forsythe’s work worldwide, including productions at the Paris Opera Ballet, Norwegian National Ballet, Batsheva Dance Company in Israel, La Scala, the National Ballet of Canada, and American Ballet Theater.Read the full release.last_img read more

Notre Dame turns down federal coronavirus aid in hopes of redistribution of funds to institutions in need

first_imgNotre Dame has decided to forgo federal stimulus funds in order for the coronavirus aid to be redistributed to other institutions in need, vice president of public affairs and communications Paul J. Browne said in an email.The Washington Times reported Friday that after Notre Dame declined $6 million in federal aid, the latest school to do so. Treasury Secretary Steven T. Mnuchin called on other private universities to do the same.According to the article, Indiana Republican Sen. Mike Braun criticized Notre Dame in a letter to the University, saying the funds should be “redistributed to other schools that have an acute need for these emergency financial aid funds.” University President Fr. John Jenkins replied to Braun in a letter obtained by The Observer, writing, “the University neither sought nor applied for the funds in question.” Regardless of endowment, Jenkins wrote, the U.S. Department of Education created a formula for every college and university in the nation to receive funds.“Also, it is my understanding that the monies not claimed by universities will be automatically returned to the Treasury Department’s general fund,” Jenkins wrote. “Perhaps you can convince the Administration to, instead, as you say, have ‘the stimulus money be redistributed to other schools that have an acute need of emergency financial aid funds.’”As Jenkins initially said, federal funds received by the University for coronavirus relief will be used to aid students whose families are struggling by the loss of a job or another hardship as a result of the pandemic. Browne said in an email that a Student Emergency Relief Fund has been established to provide additional financial aid to students whose families have been hurt financially by the pandemic.“Of course, we expect most of those families to include students who were eligible for financial aid before the pandemic,” Browne said. “Only now, that number is certain to grow because of the pandemic’s economic upheaval.” Editor’s Note: An earlier version of this article said Notre Dame is the largest school to decline federal aid when it is the latest to do so. The Observer regrets this error.Tags: COVID-19, President John Jenkins, Sen. Mike Braun, Stimulus fundslast_img read more

Chittenden Reports Higher Earnings; Announces Quarterly Dividend

first_imgChittenden Corporation(NYSE: CHZ) Chairman, President and Chief Executive Officer, Paul A. Perrault,announced higher earnings for the year ended December 31, 2003, of $74.8million or $2.07 per diluted share, compared to $63.6 million or $1.96 a yearago. For the fourth quarter of 2003, net income was $0.53 per diluted share,compared to the $0.55 per diluted share earned in the fourth quarter of 2002.The prior quarter amount exceeded the current quarter primarily due to highergains on sales of securities in 2002. Chittenden also announced its quarterlydividend of $0.20 per share. The dividend will be paid on February 13, 2004,to shareholders of record on January 30, 2004.In making the announcement, Perrault said, “The past year has been a busyone at Chittenden. In addition to our primary focus of delivering top qualityservice to our customers, we completed the Granite acquisition in the firstquarter and there has been significant activity behind the scenes inpreparation for our IT conversion this coming spring. I am encouraged by ourprogress on this important project as well as with the financial results thatwe have achieved during 2003.”On February 28, 2003, Chittenden completed its acquisition of GraniteBank, a $1.1 billion commercial bank headquartered in Keene, NH for $123million in cash and approximately 4.4 million shares of Chittenden stockvalued at $116 million. Accordingly, Granite Bank’s operations are reflectedin Chittenden’s consolidated financial statements from the date ofacquisition.Total loans increased $43 million from September 30, 2003 and $751 millionfrom December 31, 2002. The increase from a year ago was primarilyattributable to the acquisition of Granite, which contributed approximately$626 million of total loans at the date of acquisition. The increase fromlast quarter was due to continued growth in the Company’s commercial andcommercial real estate loan portfolios. The Company experienced its normalseasonal decline in municipal loans and a continued reduction in residentialreal estate and consumer loans due to higher than normal prepayment speeds onthese portfolios.Total deposits increased $844 million from a year ago and declined $48million from last quarter. The increase from a year ago was primarily aresult of the Granite acquisition, which contributed $783 million in depositsat the date of acquisition. The decrease from last quarter is primarilyrelated to the seasonal drop in municipal and captive insurance deposits,which was partially offset by an increase in demand deposits. Borrowingsdeclined from last quarter due to the early redemption of $77 million of FHLBadvances, which had an effective rate of 3.50%.The Company’s net interest margin for the fourth quarter of 2003 was4.14%, compared with 3.98% for the third quarter of 2003 and 4.38% for thesame period of 2002. The increase on a linked quarter basis is primarilyrelated to the recognition of additional accelerated fair value adjustments of$1.7 million in the third quarter which were driven by heavy prepayments onGranite’s residential mortgages. Excluding the effect of the accelerated fairvalue adjustment, the net interest margin was 4.11% in the third quarter of2003. The net interest margin for the year ended December 31, 2003 was 4.12%as compared to 4.53% for 2002. The decrease from 2002 is a result of theGranite acquisition and the overall reduction in market interest rates. On apro forma basis the net interest margin without Granite for the fourth quarterof 2003 was 4.21% and for 2003 was 4.33%.Net charge-offs as a percentage of average loans were 8 basis points inthe fourth quarter and 16 basis points for the year ended December 31, 2003,compared to 7 basis points and 28 basis points for the respective periods in2002. Net charge-off activity on a year-to-date basis totaled $5.8 millioncompared with $8.4 million in 2002. Nonperforming assets decreased $3.6million from September 30, 2003 to $14.4 million at December 31, 2003 and as apercentage of total loans declined to 39 basis points compared to 49 basispoints in the third quarter and 50 basis points at year end 2002. As apercentage of loans, the allowance for loan losses was 1.54%, down from 1.61%at September 30, 2003 and 1.62% at December 31, 2002.The provision for loan losses was $7.2 million in 2003 compared to $8.3million in 2002. For the fourth quarter, the provision was $1.0 million in2003 compared to $2.1 million in the third quarter of 2003 and $2.3 millionfor the fourth quarter of 2002. The lower provision in the fourth quarter of2003 was primarily due to the reduction in the annual level of net charges-offs as well as continued improvement in the Company’s overall credit qualityand the general economic environment.Noninterest income was $23.0 million for the fourth quarter of 2003,compared with $25.0 million for the third quarter and $19.6 million for thesame period a year ago. The decline from the third quarter was primarilyattributable to lower gains on sales of mortgage loans and mortgage servicingincome. The increase in market interest rates during the second half of 2003significantly slowed mortgage originations and resulted in lower volumes ofmortgage loans sold. Mortgage-servicing income declined in the fourth quarterprimarily due to lower impairment recoveries of $1.8 million, which waspartially offset by lower MSR amortization. The increase in other noninterestincome of $757,000 on a linked quarter basis was attributable to gains onsales of real estate related to branch locations being consolidated. Inaddition, gains on the sales of securities of $3.0 million were offset byprepayment penalties on the redemption of FHLB borrowings of $916,000 and $2.2million in conversion and restructuring charges, which were reported as partof noninterest expense.Noninterest expenses were $48.1 million for the fourth quarter of 2003,compared to $46.9 million for the third quarter and $39.9 million for thefourth quarter of 2002. Conversion and restructuring charges of $2.2 millionwere recognized in the fourth quarter of 2003. These were comprised of$378,000 in additional technology expenses related to the Company’s secondquarter announcement that it would convert its core data processing systemsand $1.8 million of restructuring charges. The restructuring charges wereassociated with the Company’s plan to consolidate 11 branches and close 30offsite ATMs, as well as to recognize severance for related staff reductions.Salaries and employee benefits decreased $1.2 million from the third quarterof 2003 and increased $4.7 million from the fourth quarter of 2002. Graniterepresented $3.4 million of the increase from a year ago, while highercommissions and sales based incentive expenses accounted for $1.3 million.Other increases driven by the Granite acquisition were noted in occupancyexpense ($470,000) and amortization of intangibles ($407,000) related to theGranite core deposit and customer list intangibles.Effective income tax rates for 2003 were 34.8% for the fourth quarter and35.8% year to date compared to 35.4% and 34.9% for the respective periods in2002. The lower effective tax rate in the fourth quarter of 2003 was a resultof the recovery of prior year tax reserves that were no longer necessary. Theincrease year over year was primarily attributable to the Granite acquisition.The return on average equity was 13.90% for 2003, compared with 16.12% for2002. The decline from a year ago is primarily due to the issuance ofadditional equity of $116 million in the Granite acquisition. The return onaverage assets for 2003 was 1.29%, compared with 1.40% for 2002. The ROE andROA without Granite for 2003 would have been 15.32% and 1.38% respectively.last_img read more

How To: Break Out of Your Comfort Zone

first_imgDear Mountain Mama,I’ve hit a plateau with paddling. I’m comfortable on the handful of Class III runs I know well, but I feel nervous even thinking about paddling a river for the first time. How do I break out of my comfort zone to the next level of paddling?Thanks,Eddy FlowerDear Eddy Flower,Sometimes the security and safety of the familiar feels good. But if we always do what we already know, we limit our potential. To confront the barriers we sometimes unknowingly impose on ourselves, purposefully put yourself in uncomfortable situations every day.This past weekend I went hang gliding for the first time. As much as part of me wanted to feel the sensation of flying, there was another part that felt scared about taking the leap of faith flying requires. I pushed past that uncomfortable feeling. The moment I felt my feet lift off the ground I felt completely free, untethered from even the weight of my own body. For a few seconds, I glided in the air, making subtle adjustments with my body to control the glider. Flying left me feeling giddy at the possibilities just outside my daily routine.For you, dear Eddy Flower, I suggest breaking out of your paddling routine. Start on the rivers you know well. At every opportunity to play, get out and surf that wave. Heck, try to rock splat or stern squirt. It doesn’t matter if you flip over every time. The point is to start feeling more confident when you’re not in complete control or the unexpected happen.Take new lines down the rapids you know. Or take the lead if you tend to follow other paddlers. The nomadic Aboriginals who have made a home in Australia’s Outback for tens of thousands of years believe that every person must assume a position of responsibility at some point. They believe that in order to know the earth and one’s relationship to the world around them, they must at some point get out in front. Taking a leadership role on the water might help you, Eddy Flower, get to know the river more intimately and gain trust in your paddling skills.Takings these small leaps of faith might feel scary at first. But after a while you will become used to putting yourself out of your comfort zone. And along the way, you’ll discover what you’re capable of paddling. In no time, Eddy Flower, you’ll be eager to paddle new rivers.Happy Paddling!Mountain Mamalast_img read more

The incredible shrinking middle-income household

first_img 3SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr by: Quentin FottrellMiddle America is holding on for dear life.The share of Americans who are part of middle-income households has plunged to 51% in 2013 from 61% in 1970, according to new research by the Pew Research Center, a nonpartisan, nonprofit think tank in Washington, D.C. And from 1990 to 2013, the share of adult Caucasians and Asians living in middle-income households decreased the most of any ethnic group, from 58% to 53% (for Caucasians) and from 56% to 50% (for Asians). The decline was less pronounced among Hispanics (from 48% to 47%) and African-Americans (from 47% to 45%).Over the same period, the share of the country that qualifies as ‘lower-income’ has also grown: they make up 29% of all households in 2013, after comprising 25% of all households in 1970. The share of upper income households, on the other hand, rose from 14% in 1970 to 20% in 2013. (To fall in those categories in 2013, household incomes had to be: $166,623 a year for upper income, $71,014 a year for middle income, and $23,659 a year for lower income.)About one-in-four white and Asian adults are upper income versus just one-in-10 Hispanic and black adults, and there was “no meaningful change in these gaps in the past two decades,” Pew found. What’s more, the median incomes of all households fell by 7% during the “lost decade” of 2000 to 2013. In the last three years (between 2010 and 2013), however, the share of middle-income families has remained steady. “While the muddled recovery has yet to bolster the middle, this flat trend might actually be good news because, for now, it stems a decades-long slide,” it concluded. continue reading »last_img read more

Alison Saar on Transforming Outrage Into Art

first_img– 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?center_img 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?last_img read more

Workers comp still needs to be reformed

first_imgOn April 29, The Daily Gazette ran a story on changes to the New York state workers compensation system. Having a ringside seat to all the changes made to the comp system over the last decade, I agree with these changes. The doctors treating comp patients deserve more money and a lot less paperwork. Even though these changes are necessary, they are not the most pressing changes that need to be made to the comp system. The change that should be made is to do away with the workman compensation medical treatment guidelines.These guidelines make it impossible for an injured worker in New York to get the proper medical care.At the very least, remove the retroactive clause from the guidelines so injured workers with long-term injuries that need long-term care can get that medical care.That’s not what the state wants, though it wants to appear tough on comp fraud and business friendly. What the state has done is broken a system that wasn’t broken, making New York one of the most unsafe states in which to work. The comp board’s mission statement bears that out, stating in part “protecting the rights of injured employees while doing what is fair to employers.” Can anyone say “conflict of interest?”Last summer, the insurance company tried to deny me all my medical care for my work-related injury, as if I magically got better. If I hadn’t fought so hard, it would’ve gotten away with it. The guidelines and the judges favor the businesses and the insurance companies that represent them.In the end, I now pay for two medical treatments out of pocket for my work-related injury that are essential to my physical well-being. This should never happen with a work-related injury. Greg McDermottGansevoort More from The Daily Gazette:Police: Schenectady woman tried to take car in Clifton Park hours after arrest, release in prior the…EDITORIAL: Urgent: Today is the last day to complete the censusEDITORIAL: Beware of voter intimidationEDITORIAL: Find a way to get family members into nursing homesEDITORIAL: Thruway tax unfair to working motorists Categories: Letters to the Editor, Opinionlast_img read more