The guidance sets out how local authorities can use the new Care Act provisions, created under the Coronavirus Act 2020, to prioritise care and support for those who need it most.The provisions are temporary and should only be used when it is not possible for local authorities to comply with their duties under the Care Act 2014.This guidance must be read alongside the ethical framework for adult social care.
Kirk DoyleFARMINGTON – EdwardJones Financial Advisor Kirk Doyle said he first started dreaming of owning a business when he was a young boy. At the time, that dream was to train dolphins for SeaWorld, but with age the visualization became more people-focused.Doyle has a long history in finances- working throughout the region as a bank manager, which was 75 percent financial advising, he said.“In that position, meeting with people in their eighties who were just trying to get by, there wasn’t much to be done. It motivated me to help people sooner,” he said. “I truthfully believe a financial advisor is one of the most important and least used service available.”Meeting with a financial advisor can make a radical difference in a person’s life according to Doyle. With the customer-centric model that EdwardJones offers, regular meetings and check-ins can change a person’s retirement from stressful to relaxing. Doyle offers a variety of services at his new office at 145 Pleasant St., but the biggest thing he does is help people plan for retirement.“When you have a plan, it’s so much easier to stick with it. And when you have someone local it’s easy to stop in to discuss things that might come up,” Doyle said.For more information on financial advising with Kirk Doyle head to www.edwardjones.com/kirk-doyle.
Load remaining images Vermont jam group Twiddle just wrapped up a major spring tour last weekend, hitting The Haunt in Ithaca, NY for a sold-out showing last Satuday, April 23rd. Opening band Space Carnival got the crowds grooving, before Twiddle kicked their Plumpty Dumpty tour into high gear with a six-song set. Lots of experimental jamming highlighted this exquisite performance, including 20+ minute versions of “Polluted Beauty” and “The Box.”The band is truly on fire, and we can’t wait for more! Check out full audio from the show below from taperchris:Don’t miss Twiddle when they make their debut at the Capitol Theatre on May 7th, with opening support from TAUK. More information about that show can be found here. Check out the full setlist and gallery below:Setlist: Twiddle at The Haunt, Ithaca, NY – 4/23/16One Set: Polluted Beauty, Wasabi Eruption > The Box, Syncopated Healing, Amydst The Myst, White LightEncore: Lost In The Cold[Setlist via uTwiddle]A full gallery of Dave DeCrescente’s images can be seen below:
Read Full Story For the 50th anniversary of what historians agree was the most dangerous moment in human history, Harvard Kennedy School’s Belfer Center for Science and International Affairs and Foreign Policy magazine today launched a contest for scholars and citizens to reflect on the lessons of the Cuban Missile Crisis and its lessons for current challenges.The contest is straightforward: In no more than 300 words, entrants must present the most persuasive, original lesson flowing from the confrontation that brought the world to the brink of nuclear war over 13 days in October 1962. The rules of the contest and additional details are available here. Prizes will be awarded to the winner in each of three categories: general public; foreign policy scholars/practitioners; and students in grades 6-12. Entries will be accepted through October 10. Winners will be announced October 15. The three winners will each receive an iPad.The Belfer Center has created a Cuban Missile Crisis website to mark the 50th anniversary. The site offers original documents, video clips and an interactive timeline. In addition, the “lessons” section provides tools for teachers, including draft lesson plans, to help engage students in thinking about the modern-day implications of the nuclear showdown half a century ago.Foreign Policy magazine also has innovative content on the crisis, including an “On the Brink” Twitter feed by author and historian Michael Dobbs that provides daily Tweets echoing events 50 years ago as the standoff developed.
LONDON (AP) — When the U.K.’s coronavirus death toll surpassed 100,000 this week, it was much more than just a number to Justin Fleming. Lying in a hospital bed, he knew how easily he could have become one of them. Fleming was rushed to London’s King’s College Hospital in mid-January as he struggled for breath. The 47-year-old says he was saved from becoming another death statistic by the “incredible” staff. Fleming is one of more than 37,000 coronavirus patients in Britain’s hospitals, where overworked staff on overcrowded wards are fighting COVID-19 one patient at a time with no end in sight. One nursing manager says the pace is relentless but staff just “take every shift as it comes.”
Here’s a quick roundup of stories you may have missed today.Anne Hathaway-Led Grounded Reschedules OpeningGeorge Brant’s Grounded, starring Anne Hathaway, has pushed back its official off-Broadway opening night to April 26; the date had previously been set for April 23. Directed by Julie Taymor, the one-woman show exploring the consequences of war and the struggle to find a balance with home life, will still begin previews on April 7 at the Public’s Anspacher Theater. We can’t wait for the Les Miz Oscar winner’s return to the New York stage!Cats’ Nicole Scherzinger & More Tapped for the OliviersThe Olivier nominated (and hopefully Broadway-bound) Nicole Scherzinger will sing “Memory” from Cats at London’s Olivier Awards ceremony on April 12. Olivier nominees Katie Brayben (Beautiful) and Beverley Knight (Memphis) are also set to take the stage to perform numbers from their respective shows. Other big names to join the event’s lineup at the Royal Opera House include Tony winners Angela Lansbury and Judi Dench, Broadway alums Emilia Fox and Michael Urie, along with Olivier winner Chiwetel Ejiofor. Can’t wait? Listen to Scherzinger’s rendition of the famous feline 11 o’clock number here.Netflix Orders Second Season of Bloodline Netflix has renewed Bloodline, starring Broadway faves Norbert Leo Butz, Kyle Chandler, Ben Mendelsohn, Linda Cardellini and Sissy Spacek, for a second season. According to Deadline, the family thriller will return to production later this year and be released in 2016. Not started binge-watching yet? Maybe Tony winner Butz will talk you into it! Related Shows Grounded Show Closed This production ended its run on May 24, 2015 View Comments
View Comments Charlie Stemp(Photo: Manuel Harlan) We were right: Half a Sixpence’s dream team is West End-bound! Co-created by mega-producer Cameron Mackintosh and School of Rock scribe Julian Fellowes, the play ran in the U.K.’s Chichester Festival this year. Performances will commence at the Noël Coward Theatre beginning on October 29, with opening night scheduled for November 17. The entire Chichester cast will transfer to the West End, including newcomers Charlie Stemp as Arthur Kipps and Devon-Elise Johnson as Ann Pornick alongside three-time Olivier-nominees Ian Bartholomew as Chitterlow and Emma Williams as Helen Walsingham.Half a Sixpence, the musical adaptation of H.G. Wells’s semi-autobiographical novel Kipps: The Story of a Simple Soul, is a fresh adaptation which reunites book-writer Fellowes with George Stiles and Anthony Drewe, the musical team that Mackintosh first put together to create the hit stage adaptation of Mary Poppins with Disney. The score is inspired by and features several of composer David Heneker’s exhilarating songs from the original production, including “Flash Bang Wallop,” “Money To Burn” and “Half A Sixpence.”In Half a Sixpence, Arthur Kipps, an orphan and over-worked draper’s assistant at the turn of the last century, unexpectedly inherits a fortune that propels him into high society. His childhood companion, Ann Pornick, watches with dismay as Arthur is made over in a new image by the beautiful and classy Helen Walsingham. Both young women undoubtedly love Arthur – but which of them should he listen to? With the help of his friends, Arthur learns that if you want to have the chance of living the right life, you need to make the right choices.Mackintosh’s Miss Saigon will open on Broadway in March 2017; Hamilton is scheduled to open in 2017 at his renovated Victoria Palace Theatre in London.
BINGHAMTON (WBNG) — Binghamton Mayor Rich David said he expects the Boscov’s in downtown Binghamton to sign a one-year lease. This is the third one-year lease for Boscov’s after a five-year agreement made in 2013. Mayor David said the lease extension was approved on Thursday, May 20 by Broome County’s Industrial Development Agency. He said he has been talking with the store since the lockdown began. Mayor David told 12 News the lease has not been signed by Boscov’s yet because they are waiting for phase two of the reopening process. He also said once the lease is signed, Boscov’s would operate in the city location through May 2021.
The lyrics speak for themselves.Oh, Lord, don’t let ’em shoot us!Oh, Lord, don’t let ’em stab us!Oh, Lord, don’t let ’em tar and feather us!Oh, Lord, no more swastikas!Oh, Lord, no more Ku Klux Klan!Name me someone who’s ridiculous, Dannie.Governor Faubus!Why is he so sick and ridiculous?He won’t permit integrated schools.Then he’s a fool! Boo! Nazi Fascist supremacists!Boo! Ku Klux Klan (with your Jim Crow plan)Name me a handful that’s ridiculous, Dannie Richmond.Faubus, Rockefeller, EisenhowerWhy are they so sick and ridiculous?Two, four, six, eight:They brainwash and teach you hate.H-E-L-L-O, Hello.Were Mingus still alive today, I’m sure he’d have some music to indict Trump, his clan, and his racist gubernatorial and senatorial enablers.Mingus was born on April 22, 1922, and died Jan. 5, 1979. The Charles Mingus website maintains his legacy; content includes a biography and Mingus’ complete discography.One of the most important figures in 20th century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Born on a military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church—choir and group singing—and from “hearing Duke Ellington over the radio when [he] was eight years old.” He studied double bass and composition in a formal way (five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with the legendary Lloyd Reese) while absorbing vernacular music from the great jazz masters first-hand. His early professional experience, in the 1940s, found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton.Eventually he settled in New York where he played and recorded with the leading musicians of the 1950s—Charlie Parker, Miles Davis, Bud Powell, Art Tatum and Duke Ellington himself. One of the few bassists to do so, Mingus quickly developed as a leader of musicians. He was also an accomplished pianist who could have made a career playing that instrument. By the mid-50s, he had formed his own publishing and recording companies to protect and document his growing repertoire of original music. He also founded the Jazz Workshop, a group which enabled young composers to have their new works performed in concert and on recordings.Mingus soon found himself at the forefront of the avant-garde. His recordings bear witness to the extraordinarily creative body of work that followed. They include: Pithecanthropus Erectus, The Clown, Tijuana Moods, Mingus Dynasty, Mingus Ah Um, The Black Saint and the Sinner Lady, Cumbia and Jazz Fusion, Let My Children Hear Music. He recorded over a hundred albums and wrote over 300 scores.- Advertisement – – Advertisement – Enjoy “Wednesday Night Prayer Service,” from 1960’s Blues & Roots.As a person who was raised on (and loves) the poetry and short stories of Langston Hughes, it wasn’t until recently that I became aware of the fact that in 1958, Mingus collaborated with Hughes on an album.Two years after Hughes read “Jazz as Communication” at the Newport Jazz Festival, he collaborated with Feather’s All-Star Sextet and Mingus and the Horace Parlan Quintet on an album first released as The Weary Blues. It has recently been re-released by Fingertips as Harlem in Vogue—22 tracks of Hughes reading poems like “The Weary Blues,” “Blues at Dawn,” and “Same in Blues/Comment on Curb” (top) over original compositions by Feather and Mingus, with six additional tracks of Hughes reading solo and two original songs by Bob Dorough with the Bob Dorough Quintet. (Mingus plays bass on tracks 11-18.)Here’s “Double G Train.”One of Mingus’ compositions that always touches me is his 1959 tribute to saxophonist Lester Young, known in the jazz world as “Prez,” whose sartorial signature was his hat.In a 1963 re-release, Mingus renamed the song “Theme for Lester Young.”One would not normally put the name of Charlie Mingus together with that of Joni Mitchell, and yet, toward the end of his life, he reached out to Mitchell, to initiate an unlikely collaboration: adding lyrics to the Lester Young tribute. Jazz critic Leonard Feather wrote about the collaboration at the time for the Los Angeles Times.Word reached her a couple of years ago that Mingus had something in mind for her to do. When she called him, Mingus told her that he had an idea for a piece of music based on an excerpt from TS Elliot’s “Four Quartets,” with a full orchestra, and overlaid on it a bass and guitar, with a reader quoting Elliot. “He wanted me to distil Elliot down into street language, and sing it mixed with this reader. “Though Mitchell was fascinated by the idea, and spent time reading the Elliot book, she decided that it was not feasible – “I called Charles back and told him I couldn’t do it; it seemed like a kind of sacrilege.”In April 1977, Mingus called with the news that he had written six songs with her in mind, and wanted her to write words for them and sing them. “I went to visit him and liked him immediately. He was already sick and in a wheelchair, but still very vital and concerned. “We started searching through his material, and he said, ‘Now this one has five different melodies.’ I said, ‘You mean you want me to write five different sets of lyrics?’ He said yes, then put one on and it was the fastest boogie-est thing I’d ever heard, and it was impossible! So this was like a joke on me; he was testing and teasing me, but in good fun.”Mitchell made several visits to the Mingus home in New York, listening to some of the his older themes on records as well as discussing the newer works and his lyrical ideas for them. “Then, because he had become very seriously ill, he and his wife Sue went to Mexico, to a faith healer, and during that time I spent 10 days with them. At that point his speech had deteriorated severely. Every night he would say to me, ‘I want to talk to you about the music,’ and every day it would be too difficult. So some of what he had to tell me remained a mystery.“Sue gave me a lot of tapes and interviews, and they were thrilling to me, because so much of what he felt and described was kindred to my own feelings. He articulated lessons that were laid on him by Fats Navarro, the trumpeter, and others.”Mingus ultimately succumbed to ALS in 1979.xToday we remember Charles Mingus, who, on this day 41 years ago, died from ALS.“Sue and the holy riverWill send you to the saints of jazz –To Duke and Bird and Fats –And any other saints you have.”From Joni Mitchell’s liner notes to the album “Mingus” pic.twitter.com/2M5v51kTb6— Charles Mingus (@Mingus) January 5, 2020Mingus was sheer genius, and whether or not he ranks as your favorite jazz bassist, he will always be regarded as seminal in the history of jazz. Wherever you are, Charlie—take a bow. Stay tuned next Sunday for more bassists, including Ray Brown, Ron Carter, Stanley Clarke, and Esperanza Spaulding! Mingus’ story is also told in the documentary, Triumph of the Underdog—a title which echoes the title of his autobiography, Beneath the Underdog.Charles Mingus–Triumph of the Underdog is the first comprehensive documentary about jazz bassist, bandleader, and composer Charles Mingus. Mingus led a tumultuous life filled with trauma and frustration, joy and creativity. Not light enough to be considered white and not dark enough to fit into the black community, he was an outcast in American society who charted his own path. Likewise, his legacy as a 20th century composer reaches far beyond conventional jazz idioms.Mingus apprenticed with people like Duke Ellington, Lionel Hampton, and Charlie Parker before going out on his own and becoming a musical force for more than a decade. When interest in his music waned at the height of the rock era in the mid-1960s, and one of his closest collaborators, Eric Dolphy, died, Mingus was institutionalized due to psychological problems. Upon his return to the music scene, he began playing more concerts and his record sales zoomed. This golden period of recognition ended when he contracted Lou Gehrig’s Disease and his muscles began to deteriorate. He died in 1979.His autobiography, Beneath the Underdog, made waves when it was first published in 1971.Bass player extraordinaire Charles Mingus, (was) one of the essential composers in the history of jazz, and Beneath the Underdog, his celebrated, wild, funny, demonic, anguished, shocking, and profoundly moving memoir, is the greatest autobiography ever written by a jazz musician. It tells of his God-haunted childhood in Watts during the 1920s and 1930s; his outcast adolescent years; his apprenticeship, not only with jazzmen but also with pimps, hookers, junkies, and hoodlums; and his golden years in New York City with such legendary figures as Duke Ellington, Lionel Hampton, Miles Davis, Charlie Parker, and Dizzy Gillespie. Here is Mingus in his own words, from shabby roadhouses to fabulous estates, from the psychiatric wards of Bellevue to worlds of mysticism and solitude, but for all his travels never straying too far, always returning to music.You will either love this book or hate it. It is raunchy, gritty, honest, sex-laden, and sad in many ways.- Advertisement – Probably one of the most interesting biographical takes on Mingus, the man and his music, is more recent: Nichole Rustin-Paschal’s The Kind of Man I Am: Jazzmasculinity and the World of Charles Mingus Jr., which was published in 2017. Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus’s ideas about music, racial identity, and masculinity―as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell―challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz’s “Angry Man” by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.As a person who has taught gender studies, this book piqued my interest, since Rustin-Paschal not only addresses Mingus, but also the erasure of women in jazz like Hazel Scott, who I wrote about in October.Often acclaimed as the greatest jazz bassist, Mingus was and always will be a figure of controversy, as Adam Shatz wrote for The Nation in 2013.It enraged him that Miles (Davis) and the hard boppers had been given credit for his innovations. It enraged him even more when Ornette (Coleman) blew into town with his plastic yellow saxophone, pianoless quartet and ideology of collective improvisation, launching the free jazz revolution and attracting nearly as many imitators as Charlie Parker. Ornette and his followers, Mingus complained to (biographer John) Goodman, were like surgeons who couldn’t retrace their steps: “if I’m a surgeon, am I going to cut you open ‘by heart,’ just free-form it, you know? … I’m not avant-garde, no. I don’t throw rocks and stones, I don’t throw my paint.” Still, Mingus knew a good idea when he heard one. His 1960 session Charles Mingus Presents Charles Mingus features a pianoless quartet that ventured even further from Mingus’s melodies than Coleman did from his, as if Mingus were bent on proving that he was more modern than the avant-garde. Whatever moved Mingus ended up in his music, whether it was the mariachi he heard on his trips to brothels south of the border and included in Tijuana Moods, recorded in 1957, or the experimental tape music of his 1962 self-portrait “Passions of a Man,” in which he overdubbed himself mumbling in an unintelligible made-up language while his band invoked half-remembered fragments of other Mingus compositions, taking us deep inside the funhouse of his unconscious. […]Mingus’s reverence for the tradition—and his mockery of free jazz musicians as unschooled dilettantes—made it easy to mistake him for a conservative: a “black Stan Kenton,” in the dismissive phrase of Amiri Baraka (then LeRoi Jones), the high priest of black nationalist jazz critics. In fact, Mingus’s music was precisely the kind of vernacular modernism that Baraka had championed in his 1963 study Blues People, as well as a textbook illustration of his argument that black musical styles, however superficially divergent, were joined at the hip by a blues impulse that Baraka called “the changing same.” Like Baraka, Mingus viewed music as a surrogate church for black Americans. “James Brown was their church,” he told Goodman, “but they got a church in jazz, too. As long as there’s the blues.” Blues feeling saturates Mingus’s work: as Sy Johnson notes, “it’s always got its feet in the dirt.” His music immerses us in the blues rituals of black American life, while at the same time depicting them from a warm and playful distance. Given what we have been going through with an open white supremacist ensconced in the White House and refusing to leave, I thought it would be apt to open with Mingus’ “Fables of Faubus,” which was his take on the staunch segregationist governor of Alabama, Orval Faubus. In 1957, Faubus forced the use of federal troops to desegregate Little Rock, Arkansas’ Central High School.- Advertisement –
Governor Wolf: Trump Budget Puts Pennsylvania Seniors Last May 23, 2017 SHARE Email Facebook Twitter National Issues, Press Release, Seniors, Statement Harrisburg, PA – Governor Tom Wolf today released a statement detailing the devastating effect President Trump’s budget will have on seniors.Governor Wolf’s full statement:“President Trump’s budget puts Pennsylvania seniors last. It makes deep cuts to Medicaid and will force seniors to pay more for health care.“Medicaid is a lifeline for seniors across Pennsylvania that helps pay the costs of nursing home care. The Trump budget proposes deep and devastating funding cuts over the next ten years, which would force many seniors out of nursing homes.“We cannot turn our backs on seniors and force them to bear the greatest pain of these cuts.”