A Parliamentary Private Secretary is a United Kingdom or New Zealand Member of Parliament designated by a senior minister in government or shadow minister to act as the minister's contact with MPs. This role is junior to that of Parliamentary Under-Secretary of State, a ministerial post, salaried by one or more departments. Although not paid other than their salary as an MP, PPSs help the government to track backbench opinion in Parliament, they are subject to some restrictions. A PPS can sit on Select committees but must avoid "associating themselves with recommendations critical of, or embarrassing to the Government", must not make statements or ask questions on matters affecting the minister's department. In particular, the PPS in the Department for Communities and Local Government may not participate in planning decisions or in the consideration of planning cases. PPSs are not members of the government, all efforts are made to avoid these positions being referred to as such, they are instead considered more as normal Members.
However, their close confidence with ministers does impose obligations on every PPS. The guidelines surrounding the divulging of information to PPSs are rigid. Ministers choose their own PPSs, but they are expected to consult the Chief Whip and must seek the written approval for each candidate from the Prime Minister. Although not on the government payroll, PPSs are expected to act as part of the payroll vote, voting in line with the government on every division, are regarded as members of the government for purposes of cabinet collective responsibility. A PPS must not appear as a representative for any special policies; when on official Departmental business, a PPS receives travel and subsistence allowance paid out of government funds, as with formal members of the government. This makes the PPS the only type of unpaid advisor. A PPS may stand in for the minister at an event as a last resort; this must be justified by the minister. If this event is overseas, the substitution requires the Prime Minister's consent.
While not technically part of the government, a PPS is still bound to Collective Ministerial Responsibility and therefore must resign if speaking against government policy. The role of PPS is seen as a starting point for many MPs who are looking to become ministers themselves. According to Philip W. Buck, a professor of political science at Stanford University: Nine-tenths of the M. P.s who first won seats in the House of Commons in 1918 or thereafter, who held some ministerial office in the years from 1918 to 1955, began their progress towards posts in a ministry or a Cabinet by serving as parliamentary secretaries or as junior ministers... Recruitment to the front bench begins with these two offices. After the leaking of party details in emails associated with Desmond Swayne, PPS to David Cameron, a writer of the Thirsk and Malton Labour Party Constituency Blog commented: A Parliamentary Private Secretary is a thankless job. Despite having risen to the rank of MP, those with Governmental ambitions will need to pay their dues once more – as a bag carrier.
Admittedly, PPS is a bit more than that – you are supposed to be the eyes and ears, reporting back to your boss all the gossip, what people are saying about your work in the bars and cafes of Westminster. Alec Douglas-Home, Lord Dunglass: to Neville Chamberlain, 1937–1940 Brendan Bracken: to Winston Churchill, 1940–1941 Christopher Soames: to Winston Churchill, 1952–1955 Robert Carr: to Sir Anthony Eden, 1955 Anthony Barber: to Harold Macmillan, 1957–1959 Peter Shore: to Harold Wilson, 1965–1966 Timothy Kitson: to Edward Heath, 1970–1974 Ian Gow: to Margaret Thatcher, 1979–1983 Peter Morrison: to Margaret Thatcher, 1988–1990 Graham Bright: to John Major, 1990–1994 Gavin Williamson: to David Cameron, 2013–2016 George Hollingbery: to Theresa May, 2016–2017 While giving the holder a close-up view of the workings of government at the highest levels few Parliamentary Private Secretaries to the Prime Minister seem to have gone on to serve at the highest level of government themselves, although Sir Alec Douglas-Home served as Prime Minister in 1963-4, while Anthony Barber was Chancellor of the Exchequer from 1970 to 1974, Robert Carr, Home Secretary, 1972-4, Christopher Soames, Peter Shore, Gavin Williamson, the current Secretary of State for Education, all went on to be senior Cabinet ministers.
Melvina is a village in Monroe County, United States. The population was 104 at the 2010 census. Melvina is located at 43°48′6″N 90°46′31″W. According to the United States Census Bureau, the village has a total area of 0.48 square miles, all of it land. As of the census of 2010, there were 104 people, 39 households, 26 families living in the village; the population density was 216.7 inhabitants per square mile. There were 44 housing units at an average density of 91.7 per square mile. The racial makeup of the village was 96.2% White, 1.9% African American, 1.9% from two or more races. There were 39 households of which 38.5% had children under the age of 18 living with them, 43.6% were married couples living together, 15.4% had a female householder with no husband present, 7.7% had a male householder with no wife present, 33.3% were non-families. 33.3% of all households were made up of individuals and 7.7% had someone living alone, 65 years of age or older. The average household size was 2.67 and the average family size was 3.31.
The median age in the village was 29.4 years. 33.7% of residents were under the age of 18. The gender makeup of the village was 49.0% male and 51.0% female. As of the census of 2000, there were 93 people, 38 households, 25 families living in the village; the population density was 195.6 people per square mile. There were 41 housing units at an average density of 86.2 per square mile. The racial makeup of the village was 97.85% White, 1.08% Native American, 1.08% from two or more races. There were 38 households out of which 31.6% had children under the age of 18 living with them, 47.4% were married couples living together, 10.5% had a female householder with no husband present, 34.2% were non-families. 31.6% of all households were made up of individuals and 10.5% had someone living alone, 65 years of age or older. The average household size was 2.45 and the average family size was 3.12. In the village, the population was spread out with 33.3% under the age of 18, 5.4% from 18 to 24, 30.1% from 25 to 44, 18.3% from 45 to 64, 12.9% who were 65 years of age or older.
The median age was 35 years. For every 100 females, there were 86.0 males. For every 100 females age 18 and over, there were 87.9 males. The median income for a household in the village was $21,250, the median income for a family was $28,750. Males had a median income of $21,563 versus $18,281 for females; the per capita income for the village was $11,791. There were 12.5% of families and 17.5% of the population living below the poverty line, including 21.2% of under eighteens and 18.2% of those over 64
Hubbard House is a not-for-profit 5013 entity, established in 1976, the first domestic violence shelter in Florida. Hubbard House is a certified, comprehensive domestic violence center and is a nationally recognized leader in domestic violence intervention, it provides programs and services to more than 5,000 women and men annually in Duval and Baker counties. Hubbard House provided a victim advocate in Nassau County beginning in 2000; the county established Micah's Place. The Jacksonville Woman's Movement purchased the first house to be used for a shelter in 1976, it was located on Hubbard Street. A children's program that included therapeutic child care was introduced in 1979; the First Step Program was launched in July, 1981. According to the organization's website, it was "one of the first intervention programs in the... for batterers." The organization's first thrift store was opened in 1985. Hubbard House is best known for its emergency shelter, but the agency provides adult & youth outreach services, school-based education, therapeutic childcare, batterers’ intervention programs, court advocacy and volunteer/community education opportunities.
Victims of domestic violence may access Hubbard House directly through its around-the-clock hotline or through referral from law enforcement organizations, other support agencies and outreach programs. Hubbard House offers victims of domestic violence and their children food and shelter as well as counseling and other services. Length of time at Hubbard House varies, but does not extend beyond six weeks. Safety: Hubbard House coordinates with the police and court systems to ensure physical safety of domestic violence victims. If victims do not have their own cell phones, the center will provide them phones that can be used to call 911 in an emergency. Hubbard House accepts old cell phones, chargers & batteries and reprograms them for emergency use. Legal: Hubbard House hosts monthly legal clinics with attorneys from Jacksonville Area Legal Aid to allow victims to learn their rights and the processes necessary to obtaining them through the law. Education: Job training is provided if the victim lacks marketable skills to support herself and her children.
For children, access is provided to the shelter's accredited school. Housing: When the family leaves Hubbard House, the program helps provide adequate housing. Located in an old, overcrowded house downtown, the Hubbard House opened in a new location in April, 1997, a $3.2 million facility that included offices and daycare. The location of the center is only disclosed to those; the center is a physically secure facility to protect victims from their abusers. The Hubbard House Outreach Center and Thrift Store opened November 17, 2008; the $750,000 outreach center offers services that include adult and youth counseling, case management services, crisis intervention, support groups for victims, Helping At Risk Kids, a therapeutic intervention and prevention program designed to empower children from abusive homes. The outreach center should serve 3,000 people each year; the center operates on a $4.5 million annual budget, more than 90 percent of that coming from government sources. Federal and Local funding levels are not guaranteed, payments can be delayed for many reasons.
Other sources of income include United Way, revenue from the center's Thrift store, donations from corporations & individuals, fund-raising events sponsored by the center or by other groups on their behalf. The Hubbard House Foundation was established to raise endowed funds after CSX Transportation CEO Michael Ward and his wife, donated $2.5 million to Hubbard House in February, 2006. At the time of the Ward donation, the organization had an endowment of about $100,000 and had less than a month's operating expenses in the bank; the center added $1 million of the donation to their endowment, funded construction of the $750,000 outreach center, used the remainder of the gift to expand the staff. In February, 2008, the Wards challenged the First Coast to fight domestic violence by matching their 2007 $1 million donation to Hubbard House. Quigley House - Clay County, Florida Betty Griffin House - St. Johns County, Florida Micah's Place - Nassau County, Florida Hubbard House official website Florida Coalition Against Domestic Violence
Raymond Carlos Nakai is a Native American flutist of Navajo/Ute heritage. Nakai played brass instruments in high school and college, auditioned for the Armed Forces School of Music after a two-year period in the United States Navy, he began playing a traditional Native American cedar flute after an accident left him unable to play the trumpet. Self-taught, he released his first album Changes in 1983, afterward signed a contract with Canyon Records, who produced more than thirty of his albums in subsequent years, his music prominently features original compositions for the flute inspired by traditional Native American melodies. Nakai has collaborated with musicians who include William Eaton, Philip Glass, Nawang Khechog, Paul Horn, Keola Beamer, he has received 11 Grammy Award nominations for his albums. Raymond Carlos Nakai was born in Flagstaff, Arizona on April 16, 1946, to a family of Navajo and Ute descent, he now resides in Arizona. As a child he would audition tapes; when he enrolled in a high school on the Colorado River Indian Reservation in Arizona, he sought to play the flute in the school band, but was assigned the cornet instead, which, he said, he was less interested in.
He began studying at Northern Arizona University in 1966, where he played brass instruments in the marching band. As a second-year student, he was drafted into the United States Navy, spent two years studying communications and electronics in Hawai'i and the south Pacific, he was turned down as he was not Hawaiian himself. He continued to receive musical training while in the military, he returned to the Navajo reservation in 1971. He passed the competitive auditions for the Armed Forces School of Music, was 28th on the waiting list for admission. Playing with the Armed Forces Band became impossible after an auto accident damaged his mouth, making it impossible to produce the correct embouchure to continue playing brass instruments. After his accident, Nakai had a brief struggle with drugs and alcohol. In 1972 he was given a traditional cedar flute, which he taught himself to play, going on to purchase an instrument from Oliver Wendell Jones, a flute maker from California who Nakai met while working as a vendor at a museum.
Jones would continue to supply Nakai with flutes for several years. Nakai found it difficult to expand his repertoire due to the absence of recordings or scores for traditional flute music, he returned to Northern Arizona University to earn a Bachelor's Degree in 1979 and earned a master's degree in American Indian studies from the University of Arizona. He taught graphic art at a high school until 1983. Nakai began recording his music on cassettes, selling them on the Navajo Reservation. After a period of little success, he played his music during an exhibition at the Heard Museum, where a representative of Canyon Records bought one of his cassettes, his playing impressed the museum's administrators. He recorded the album Changes in 1983, sold it independently. By 2016, Nakai had recorded more than thirty commercial albums with Canyon records and several more with other producers, had sold more than 3.5 million records. These recordings included several collaborations, including with the Japanese folk ensemble Wind Travelin' Band, the Philadelphia Orchestra's Israeli cellist Udi Bar-David, guitarist William Eaton, American composer Philip Glass, Tibetan flutist Nawang Khechog, flutist Paul Horn, slack key guitar player Keola Beamer.
Nakai's music prominently features improvisations on the Native American cedar flute. He plays the eagle-bone whistle, uses synthesizers and sounds from nature. Although he plays arrangements of traditional melodies, most of his music attempts to " original compositions that capture the essence of his heritage in personalized ways." Nakai states: "I build upon the tribal context. Much of what I do builds upon and expresses the environment and experience that I’m having at the moment." His collaborations have included works produced with musicians of different genres, including jazz, western classical music, traditional music from different parts of the world. Nakai composed a few "light-hearted" orchestral works. Although his music has been popular among enthusiasts of New Age music, he has disagreed with that categorization. Many of Nakai's records have been commercially successful. Two albums, Earth Spirit and Canyon Trilogy, were certified Gold by the Recording Industry Association of America.
Music review website AllMusic called Canyon Trilogy " in its simplicity", referred to Earth Spirit as "an outstanding CD from a soulful man."Nakai's 1995 collaboration with William Eaton, Feather and Light, topped the New Age music album charts for 13 weeks, was listed as a Billboard Critic's choice. He has been nominated for the Grammy Award eleven times: first in 1993 for Ancestral Voices in the Best Traditional Folk Album category, eight times in the Best New Age Album category, twice in the Best Native American Album category, he has been described
Hasui Kawase was a Japanese artist. He was one of the most prominent print designers of the shin-hanga movement. From youth Hasui dreamed of an art career, but his parents had him take on the family rope and thread wholesaling business, its bankruptcy when he was 26 freed him to pursue art. He approached Kiyokata Kaburagi to teach him, but Kaburagi instead encouraged him to study Western-style painting, which he did with Okada Saburōsuke for two years. Two years he again applied as a student to Kaburagi, who this time accepted him. After seeing an exhibition of Shinsui Itō's Eight Views of Lake Biwa Hasui approached Shinsui's publisher Shōzaburō Watanabe, who had Hasui make three experimental prints that Watanabe published in August 1918; the series Twelve Views of Tokyo, Eight Views of the Southeast, the first Souvenirs of Travel of 16 prints followed in 1919, each issued two prints at a time. Hasui's twelve-print A Collection of Scenes of Japan begun in 1922 went unfinished when the 1923 Great Kantō earthquake destroyed Watanabe's workshop, including the finished woodblocks for the yet-undistributed prints and Hasui's sketchbooks.
Hasui travelled the Hokuriku, San'in, San'yō regions in 1923 and upon his return in February 1924 developed his sketches into his third Souvenirs of Travel series. Kawase studied Japanese style painting at the studio of Kiyokata Kaburagi, he concentrated on making watercolors of actors, everyday life and landscapes, many of them published as illustrations in books and magazines in the last few years of the Meiji period and early Taishō period. During the forty years of his artistic career, Hasui worked with Shōzaburō Watanabe and advocate of the shin-hanga movement, his works became known in the West through American connoisseur Robert O. Muller. In 1956, he was named a Living National Treasure in Japan. Hasui's younger brother Kasuke moved to London in 1916 to work as an accountant for Okura and Co, he married an English woman, Clara Greenfield, they have one surviving daughter Kathleen and grand daughter Karen Kawase, his maternal uncle was Kanagaki Robun with the pen name of Nozaki Bunzō, a Japanese author and journalist, producing the first manga magazine.
Kawase worked exclusively on landscape and townscape prints based on sketches he made in Tokyo and during travels around Japan. However, his prints are not meishō prints that are typical of earlier ukiyo-e masters such as Hiroshige and Katsushika Hokusai. Kawase's prints feature locales that are obscure in urbanizing Japan. Hasui considered himself a realist and employed his training in Western painting in his compositions. Like Hiroshige he made travel and landscape prints, though his subjects were less known locations rendered with naturalistic light and texture, without the captions and titles that were standard in prints of Hiroshige's age. Kawase left a large body of woodblock prints and watercolors: many of the watercolors are linked to the woodblock prints, he produced oil paintings, traditional hanging scrolls and a few byōbu. In the West, Kawase is known as a Japanese woodblock printmaker, he and Hiroshi Yoshida are regarded as two of the greatest artists of the shin-hanga style, are known for their landscape prints.
Twelve Scenes of Tokyo Selections of Scenes of Japan Snow at Zojo Temple Hall of the Golden Hue, Hiraizumi About dating of the prints: Many of them are reprinted 1960 after Kawase's death. The Temple Honmonji, Ikegami woodblock print, Los Angeles County Museum of Art Early Summer Rain, Arakawa River woodblock print. Kawase Hasui: the Complete Woodblock Prints. Amsterdam: Hotei Publishing, 2003. Kawase Hasui's works at Tokyo Digital museum Dream Worlds: Modern Japanese Prints and Paintings from the Robert O. Muller Collection Online Exhibition Kawase Hasui's works at Los Angeles County Museum of Art
Feathers & Bones is the ninth studio album by Pittsburgh-native band, the Clarks. Released on July 8, 2014, the album marked their first studio effort in five years, since 2009's Restless Days. Additionally, it was the band's first release of any kind in four years, following 2010's downloadable-only EP Songs in G. Feathers & Bones was first announced in early 2013, soon thereafter, the Clarks began a PledgeMusic campaign to help fund the album's production; the campaign succeeded beyond the band's expectations. Upon the album's release, the song "Take Care of You" received steady airplay on Pittsburgh-region radio stations, such as WDVE. "Feathers & Bones" "All or Nothing" "Nothing Good Happens After Midnight" "Irene" "Take Care of You" "Map of the Stars" "Nothing But You" "Magazine" "Some Call it Destiny" "Take Me" "Broken Dove" Scott Blasey - lead vocals, acoustic guitar Rob James - electric and acoustic guitars, vocals Greg Joseph - bass, acoustic guitar, vocals Dave Minarik - drums, vocals Gary W. Jacob - pedal steel Skip Sanders - keyboards, accordion Joy Brown - vocals Bernice Wilkerson - vocals Noah Minarik - vocals on "Broken Dove"