Bishops OK directives, abuse charter revisions at spring meeting

FORT LAUDERDALE, Fla. — New medical directives governing health care partnerships and revisions to the charter on the protection of young people were approved during the U.S. Conference of Catholic Bishops’ spring general assembly.

During their June 13-14 meeting, the bishops also approved what is described a “pastoral response” to Asian and Pacific Island Catholics and, after a long discussion, they decided to supplement their quadrennial document on Catholic participation in public life with a short letter, a video and other supplementary materials.

The meeting opened with a statement decrying Attorney General Jeff Sessions’ decision that asylum seekers fleeing domestic or gang violence cannot find protection in the United States.

Lori
Baltimore Archbishop William E. Lori gestures June 14 during the bishops’ annual spring assembly in Fort Lauderdale, Fla. (CNS photo/Bob Roller)

“At its core, asylum is an instrument to preserve the right to life,” the bishops’ statement said. They urged the nation’s policymakers and courts “to respect and enhance, not erode, the potential of our asylum system to preserve and protect the right to life.”

Sessions’ decision “elicits deep concern because it potentially strips asylum from many women who lack adequate protection,” the bishops said. “These vulnerable women will now face return to extreme dangers of domestic violence in their home country.”

Just after opening prayer, Cardinal Daniel N. DiNardo of Galveston-Houston, USCCB president, read the statement from the dais, and the bishops voiced their support.

In his remarks, Cardinal DiNardo said he joined Bishop Joe S. Vasquez of Austin, Texas, chairman of the bishops’ Committee on Migration, “in condemning the continued use of family separation at the U.S.-Mexican border as an implementation of the administration’s zero tolerance policy.”

“Our government has the discretion in our laws to ensure that young children are not separated from their parents and exposed to irreparable harm and trauma,” the cardinal said. “Families are the foundational element of our society and they must be able to stay together.”

“Separating babies from their mothers is not the answer and is immoral,” he added.

The bishops voted 183-2 with two abstentions to revise ethical and religious directives governing key moral questions when Catholic and non-Catholic institutions are preparing to cooperate or merge.

Under development since 2015, the changes are limited to Part 6 of the “Ethical and Religious Directives for Catholic Health Care Services” developed by the U.S. Conference of Catholic Bishops.

Bishop Robert J. McManus of Worcester, Massachusetts, chairman of the bishops’ Committee on Doctrine’s Subcommittee on Health Care, told the assembly the new directives will help bishops decide whether a health care partnership can occur under the church’s moral teaching.

The revisions offer more specific guidance to health care administrators confronted with an increasingly complicated business environment and widespread consolidation within the industry.

The bishops also approved changes in language to clarify several articles of the “Charter for the Protection of Children and Young People.” The changes are the first since 2011 as the work to update the document took several years longer than planned to wind through the review process established by the bishops.

The vote was 185-5 with one abstention to enact the changes.

Bishop Timothy L. Doherty of Lafayette, Indiana, chairman of the Committee for the Protection of Children and Young People, presented the changes, saying the they will strengthen protections for young people.

A provision changing the review of the charter from every two years to seven years was among the approved changes.

The changes generally tighten requirements for all individuals working with children and add wording to individual articles of the charter or clarify terms used in the document.

In the lead up to the vote, Francesco Cesareo, chairman of the National Review Board, cautioned the bishops to guard against complacency in carrying out the charter’s requirements. He urged them to “never waver” in their commitment to protect minors and vulnerable adults from sexual abuse.

Cesareo said signs of complacency surfaced in some dioceses and eparchies as auditors compiled an annual report on compliance with the charter during the period July 1, 2016-June 30, 2017. While progress is being made as the number of allegations during the period declined from the two previous years, he cautioned the bishops to remain vigilant.

“Despite the progress we have made in the church and the ongoing efforts of dioceses, many among the faithful and in society at large question the commitment of the church, and, in particular the bishops, in addressing the sexual abuse of children,” he told the assembly.

In another vote, the bishops accepted a new document focused on guiding the American church in addressing the pastoral needs of Asian and Pacific Island Catholics.

Adopted 187-2 with two abstentions, “Encountering Christ in Harmony” is meant to provide support and offer ideas for ministry to the nation’s nearly 3 million Asian and Pacific Island Catholics.

Bishop Oscar A. Solis of Salt Lake City, chairman of the bishops’ Subcommittee for Asian and Pacific Islander Affairs, told the assembly the document addresses the fastest growing minority community in the United States church.

“Asian and Pacific Islanders are ready for pastoral engagement in the church’s mission of evangelization,” he said.

“Our approval of this document is indicative of an essential pastoral outreach to the mission of the church in the United States. It’s a response to the call of Pope Francis to go to the peripheries to proclaim the Gospel,” he added.

The document has been in the works for more than two years.

The bishops engaged in an 85-minute discussion before agreeing to develop new supplementary materials and a video to complement its long-standing document guiding Catholic participation in public life.

The new materials were proposed by a working group that included the chairman of USCCB committees that work on public policy issues. They would supplement the bishops’ “Forming Consciences for Faithful Citizenship” and will “apply the teaching of Pope Francis to our day.”

The document traditionally has been updated and released about a year before the presidential election every four years with its last update in 2015. The new materials are expected to be completed in time for the bishops to approve them at their November 2019 general assembly.

The bishops heard a planned pastoral letter addressing racism is on schedule for a November vote during the bishops fall meeting.

Bishop Sheldon J. Fabre of Houma-Thibodaux, Louisiana, chairman of the bishop’s Ad Hoc Committee Against Racism, said the pastoral letter is on schedule for a November vote when the bishops reconvene in Baltimore.

He said drafts of the document have been reviewed by various parties and that their suggestions have been incorporated into it. The document will focus on contemporary concerns affecting Native Americans and African-Americans and the “targeting” of Hispanics with racist language and actions, he said.

The pastoral letter will be rooted in the clear message of Micah 6:8, which calls on the faithful “to act justly and to love mercy and to walk humbly with your God,” he added.

On the religious freedom front, Archbishop Joseph E. Kurtz of Louisville, Kentucky, chairman of the bishops’ Committee for Religious Freedom, said challenges to religious liberty continue to emerge and the U.S. Catholic Church will remain steadfast in addressing them to serve the common good.

In response, he explained, the committee has developed a plan to change the narrative about what religious freedom truly means.

The effort will include “choosing our language carefully” through the use of “inspiring and relatable language that promotes the “gift” of religious freedom, he said. He used the example of faith-based agencies that face the threat of government shutdown because of their religious or moral convictions.

A second component will focus on telling stories of people facing questions of conscience, such as a nurse who was forced to assist in carrying out an abortion.

The committee’s next action was to focus on Religious Freedom Week, set for June 22-29.

Archbishop Kurtz said a series of eight videos examining various issues related to the free practice of faith were planned to be released for the week. Its theme is “Serving Others in God’s Love,” and Catholics were being encouraged to pray and act in support of religious freedom in the U.S. and elsewhere during the week.

Lifestyle | Guest MINDSETTER™ Michael Rose: The Genius of Beyonce & Jay-Z at the Louvre

Monday, June 18, 2018

Beyonce at Jay Z

On Saturday, Beyoncé, and Jay-Z released a surprise new album, Everything is Love, on Tidal the streaming service they co-own. The first music video for the album accompanies the single Apeshit and was released under the duo’s co-moniker The Carters. The video was filmed entirely at the Louvre and was directed by Ricky Saiz, who previously collaborated with Beyoncé on the video for her track Yoncé.

The new video, shared with unwitting fans via Instagram on Saturday afternoon, has over seven million views as of this writing (a little more than 24 hours after release). It features Beyoncé and Jay-Z in the empty Louvre Museum; perhaps the greatest bastion of so-called “high culture”, and also the center of the predominantly white and male tradition of Western Art. The Apeshit video is stunningly styled, choreographed, and filmed. And it is also highly conceptual. It takes part in an ongoing tradition of celebrities engaging with high art, it places the uniquely American art form of rap on the same level with European masterpieces, and it corrects the lack of diversity that is often taken for granted in cultural institutions, not only in the Old World, but in the New as well.

The video opens with a cinematic shot of a black figure with angel wings standing guard outside the Louvre by night; bells chiming in the distance. It then transitions inside the museum with lavishly gilt interiors appropriate to a former palace and details of fine European paintings. In the next scene Beyoncé and Jay-Z are pictured dramatically standing alongside La Jaconde, The Mona Lisa. Jay-Z wears a pale teal suit with a gold medallion, Beyoncé is in a pink silk smoking jacket, richly accessorized with diamonds. They are presented one-to-one with the best-known portrait in Western Art, equaling it in regality. The scene is also a reference to their viral photo shoot at the Museum in 2014, in which they also took a photo alongside Da Vinci’s most famous painting. In both scenes, they are compared directly to their painted co-star. They, like she, stare out at the viewer. They too, are iconic. And The Carters, like The Mona Lisa, are celebrities with far-reaching influence.

Other celebrities, too, have engaged with the art world. The painter Will Cotton was the artistic director for Katy Perry’s California Gurls music video in 2010. George Clooney was styled by the Japanese conceptual artist Yayoi Kusama for a W Magazine spread in 2013. John Currin was commissioned to paint a portrait of Jennifer Lawrence for the cover of Vogue’s 125th Anniversary Issue in 2017. Louis Vuitton created a line of bags designed with Jeff Koons that feature paintings by Rubens, Monet, and others. The list goes on. Celebrities and luxury brands regularly utilize blue-chip artists in their own projects both to establish their cultural bona fides and also to raise the cachet of their own brands. In the case of The Carters, the hallowed halls of the Louvre and the paintings within it become not a sales pitch, but rather a backdrop for an effective performance about culture and race that undermines traditional assumptions about art, the vagueries of high versus low culture, and the institutions that broker mass interpretations of these topics.

Whereas the media of the artworks presented in the video are sculptures and oils, the media of the performers are hip-hop and dance. The uniqueness of hip-hop, rap, and their associated dance styles can be traced back to their foundations in The Bronx of the 1970’s, and other mostly African-American enclaves in cities throughout the United States. The Carters’ merging of this American musical tradition with the Parisian art establishment is reminiscent in so many ways of Jazz Age ex-patriotism, when American-American Jazz singer, dancer, and performer Josephine Baker rose to spectacular popularity in the Paris of Fitzgerald, Hemingway, and Gertrude Stein. Beyoncé and Jay-Z are interested in the unique history of African-American performers in France, and engage with that story in the video. Like Baker, their cultural prominence abroad has been achieved not through the avenues of the establishment but through a mass popularity built on the currency of their own work. Lyrics in Apeshit directly reference their popularity and success:

I can’t believe we made it (this is what we made, made)
This is what we’re thankful for (this is what we thank, thank)
I can’t believe we made it (this a different angle)
Have you ever seen the crowd goin’ apeshit? Rah!

This popularity comes from a broad and diverse fan-base, which has already raised ecstatic support for their new album and the Apeshit video. Throughout the already viral video, the iconic American music duo is presented as equal to not only The Mona Lisa, but also to the Winged Victory of Samothrace, and Egyptian Pharonic sculpture. Beyoncé and Jay-Z perform as art historical subjects with the same gravitas afforded to the works of art they reference. Dancers perform too, alongside Beyoncé in front of works from the academic canon of art history, including Jacques Louis David’s The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine, while Jay-Z raps in front of Gericault’s Raft of the Medusa. The mostly white faces of art history are contrasted with contemporary African-American artists. Rigid paintings by dead painters are challenged and redefined by rap and the ecstatic movement of individuals who are very much alive. And importantly, this redefinition is undertaken utilizing African-American music and choreography, with a cast made up of people of color. People who have been mostly left out of institutions like the Louvre, as evidenced by the artworks scanned in the video, claim their rightful place in the cultural pantheon.

Through performance in the Louvre and amongst works deemed “important” by the art establishment The Carters remind the viewer of their own cultural import, which comes not institutionally but communally. Beyoncé and Jay-Z are clearly and unarguably cultural leaders in their own right, and have been for some time. They have millions of followers around the world and, in a reference to the current political climate, they note that they fill stadiums as successfully as the NFL. So the Apeshit video is more of a statement of fact than anything else. These artists are as recognizable and as recognized as The Mona Lisa. They are as successful and as respected in music as painters like David or Da Vinci have been in the visual arts. The video shows though that The Carters share in the kind of creative “genius” formerly associated with white, male, European artists. Although it was produced commercially to promote their music, and does not fit the mold that has been set out for a work of high art, The Carters’ Apeshit tells a compelling story and helps to reframe popular visions of culture and cultural institutions.

The video concludes with Beyoncé and Jay-Z in front of The Mona Lisa again. The two, who are previously pictured in the same spot facing the audience, slowly turn to regard each other and then the turn away from the audience to look at famous painting. The point is clear: two uniquely American celebrities considering an iconically European celebrity and thinking about her and their roles in the history of visual culture. In the video, audiences are enjoined not only to reflect on the status of great art or great celebrities within the mass culture, but to reconsider who is deserving of their status and who might have been left out of the popular story and history of art. 

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This was originally published at www.michaelrosefineart.com.

Michael Rose

Michael Rose is an art historian, gallerist, and appraiser based in Southern New England. Michael currently serves as the Gallery Manager at Providence Art Club, where he is responsible for all aspects of gallery administration, managing exhibitions in three unique gallery spaces.


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May 9

Jackson Browne at PPAC 

Providence, RI

Hall of Famer Jackson Browne is coming to PPAC in May. 

In his career, Browne has sold over 18 million albums in the U.S. 

He is known for songs such as  “These Days”, “The Pretender”, “Running on Empty”, “Lawyers in Love”, “Doctor My Eyes”, “Take It Easy”, “For a Rocker”, and “Somebody’s Baby” and others. 

Browne was inducted into the Rock and Roll Hall of Fame in 2004 and the Songwriter’s Hall of Fame in 2007

Click here for tickets 

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May 25-27

Boston Calling 2018 

Boston, MA

Boston Calling, the first New England music festival of the season kicks off in downtown Boston on the weekend of May 25 to the 27.

The festival features performances from Eminem, The Killers, Jack White and more. 

Click here for tickets

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May 26

Jason Aldean at Xfinity Center 

Mansfield, MA

Jason Aldean brings his “High Noon Neon Tour” to the Xfinity Center. 

Aldean is celebrating the release of his eighth album titled “Rearview Town.” 

In his career, he has seen 19 singles reach #1 on the on either the Hot Country Songs or Country Airplay charts with “Why”, “She’s Country”, “Big Green Tractor”, “The Truth”, “Don’t You Wanna Stay” (a duet with Kelly Clarkson), “Dirt Road Anthem,” among others. 

In 2017. Aldean won the Entertainer of the Year Award at the ACM Awards. 

Click here for tickets 

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May 28

Latin American Music Festival at Rhodes on the Pawtuxet 

Providence, RI 

A celebration of Latin culture that showcases the music, art, food, and dance styles of countries like Mexico, Dominican Republic, Guatemala, Bolivia, Puerto Rico, and many more. 

The festival will be filled with live performances from dance groups, musicians, and vocalists who are ready to put on a show. 

Click here for tickets 

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June 6

Imagine Dragons at Xfinity Center 

Mansfield, MA

Imagine Dragons is bringing their “Evolve Tour” to the Xfinity Center this summer. 

The group is known for songs such as “On Top of the World,” “Amsterdam,” and “Warriors.” 

Click here for tickets 

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June 7 – 10

PVDFEST

Providence, RI

Live music, dance, food, and visual art installations transform the Providence. Dozens of music performances play over a four-day event. Multi-art installations take-over of public spaces, parks, and outdoor stages in the heart of Providence, Rhode Island.  Artists from across the globe perform.

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June 15

Paul Simon at TD Garden 

Boston, MA

Formally one half of the legendary duo “Simon & Garfunkel,” Paul Simon is bringing his solo tour to the TD Garden. 

Simon has earned sixteen Grammys for his solo and collaborative work, including three for Album of the Year (Bridge Over Troubled Water, Still Crazy After All These Years, Graceland), and a Lifetime Achievement Award.

He was inducted into the Rock and Roll Hall of Fame in 2001.

Click here for tickets 

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June 15

Tim McGraw & Faith Hill at Mohegan Sun 

Uncasville, Ct.

Music legends Tim McGraw and his wife Faith Hill are bringing their Soul2Soul World Tour to Mohegan Sun this summer. 

The tour is one of the highest grossing tours in country music history.

Tim McGraw 

McGraw has won three Grammy Awards, 14 Academy of Country Music Awards, 11 Country Music Association (CMA) awards, 10 American Music Awards, and three People’s Choice Awards.

He has sold more than 75 million records worldwide.

Faith Hill 

Hill has won five Grammy Awards, 15 Academy of Country Music Awards, six American Music Awards, and several other awards.

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June 15 & 16

Zac Brown Band at Fenway Park 

Boston, MA

The Zac Brown Band is returning to Fenway Park for their “Down the Rabbit Hole Live” tour to Fenway Park. 

In their career, the band has charted 16 singles, 13 of which have reached #1 on the  Billboard Hot Country Songs or Country Airplay chart. 

Their hits include, ” “Chicken Fried”, “Toes”, “Highway 20 Ride”, “Free”, “As She’s Walking Away”, “Colder Weather”, “Knee Deep”, “Keep Me in Mind”, “Goodbye in Her Eyes”, “Sweet Annie”, “Homegrown”, “Loving You Easy”, and “Beautiful Drug”. 

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June 21

The Wailers at Greenwich Odeum 

East Greenwich, RI 

In honor of Bob Marley, the Wailers are continuing to tour and celebrate his legacy. 

There are more than 250 million Bob Marley & The Wailers recordings sold, including 1977’s Exodus, anointed Best Album of the Century in 1999 by Time Magazine, and “One Love,” named Song of the Millennium that same year by BBC.

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June 22

Dave Matthews Band at Xfinity Center 

Mansfield, MA 

The popular rock band makes their return to the Xfinity Center in Mansfield this summer for one show.

Expect some new material, exploratory jamming, and hits like “Crash,” “Ants Marching,” and “What Would You Say,” among others. 

Dave Matthews Band has sold over 60 million records worldwide. 

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July 6

Luke Bryan at Fenway Park 

Boston, MA

Country music star Luke Bryan is coming to Fenway Park. 

Bryan released his latest album titled “What Makes You Country,” on December 8 of 2017. The album features the hit single “Light it Up.” 

To date, Bryan has sold more than 7 million albums and 27 million singles worldwide. 

Bryan, who’s career who began in 2000, is best known for his number on singles ” I Don’t Want This Night to End,” “Drunk on You,” and “Kiss Tomorrow Goodbye.” 

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July 19

Chris Brown at Xfinity Center 

Mansfield, MA

Chris Brown is bringing his “Heartbreak on a Full Moon Tour” to the Xfinity Center.

Brown has sold more than 100 million albums and singles worldwide, making him one of the world’s best-selling music artists.

He has won several awards, including 14 BET Awards, 5 Billboard Music Awards, and 5 Soul Train Music Awards. According to Billboard, Brown has the seventh most Hot 100 entries on the chart with 87.

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July 21

Bruce Hornsby & the Noisemakers and Los Lobos at Indian Ranch 

Webster, MA

Hornsby’s music has been recognized on a number of occasions with awards, including the 1987 Grammy Award for Best New Artist with Bruce Hornsby and the Range, the 1990 Grammy Award for Best Bluegrass Album, and the 1994 Grammy Award for Best Pop Instrumental Performance

He also collaborated with Grateful Dead and was a member of the band from September 1990 to March 1992, playing over 100 shows during that period.

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July 21 & 22

Foo Fighters at Fenway Park 

Boston, MA

The Foo Fighters are bringing their “Concrete and Gold Tour” to Fenway Park for a two-night stay. 

The Foo Fighters recently released their ninth album titled “Concrete & Gold,” which reached #1 in the U.S. 

Over the course of the band’s career, four of their albums have won Grammy Awards for Best Rock Album. Overall, they have sold over 12 million copies in the United States alone.

They are known for songs such as “Best of You,” “Learn to Fly,” “Times Like These,” and more. 

Click here for tickets 

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July 27 – 29

Newport Folk Festival 

Newport, RI 

The Newport Folk Festival returns this summer with a lineup that includes “The War and Treaty,” “Twain,” “Lucius” and more.

Click here for tickets 

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July 26, 27 & 28

Taylor Swift at Gillette Stadium 

Foxboro, MA

Taylor Swift is coming to Gillette Stadium for three shows this summer as part of her “Reputation” Stadium Tour.

Swift is the winner of 10 Grammy Awards, five Guinness World Records, one Emmy Award, 21 Billboard Music Awards, 12 Country Music Association Awards, eight Academy of Country Music Awards, and one Brit Award.

She is one of the best-selling music artists of all time, having sold more than 40 million albums—including 27.8 million in the US—and 130 million single downloads.

She was named Time Person of the Year in 2017 as part of the “Silence Breakers.”

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August 3-5

Newport Jazz Festival 

Newport, RI

The 2018 Newport Jazz Festival will run from August 3 to August 5 at Fort Adams State Park and the International Tennis Hall of Fame.

The festival will show off over 50 individual jazz ensembles on four stages including performances at the International Tennis Hall of Fame and Fort Adams State Park. 

The festival will feature artists such as George Clinton & Parliament Funkadelic, Roy Hargrove, Alicia Olatuja and more. 

Click here for tickets

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August 5

Jay Z & Beyonce at Gillette Stadium 

Foxboro, MA

The tour is the second one that Beyonce and Jay-Z have done together following 2014’s On The Run tour. 

Jay Z 

Jay-Z is one of the best-selling musicians of all time, having sold over 50 million albums and 75 million singles worldwide, while receiving 21 Grammy Awards for his music.

He holds the record for most number one albums by a solo artist on the US Billboard 200 with 14.He has also had four number ones on the Billboard Hot 100, one, ”Empire State of Mind,” as the lead artist.

Jay-Z married Beyoncé in 2008. As a couple, they have an estimated net worth of $1.16 billion.

Beyonce 

In her career, Beyoncé has sold an estimated 100 million records as a solo artist, making her one of the best-selling music artists in history.

She has won 22 Grammy Awards and is the most nominated woman in the award’s history.

Beyonce is also the most awarded artist at the MTV Video Music Awards, with 24 wins.

Forbes ranked her as the most powerful female in entertainment on their 2015 and 2017 lists, and in 2016 she finished in sixth place for Time’s Person of the Year.

Click here for tickets

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August 9

Jimmy Buffett at Fenway Park 

Boston, MA

Escape to Margaritaville with music legend Jimmy Buffett at Fenway Park. Buffett will be joined by Huey Lewis and the News.  

In his career, Buffett has released 30 studio albums, eight of which are Gold Albums and nine are Platinum. 

He won his first ever Country Music Award (CMA) for his song “It’s 5 O’clock Somewhere.”

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August 10

Billy Joel at Fenway Park 

Boston, MA

For the fourth consecutive year, rock and roll legend Billy Joel will play Fenway Park. 

Billy Joel released his first hit song, arguably still his biggest hit, Piano Man in 1973 and since has become the 6th best selling recording artist and the third best selling solo artist in the United States. 

Joel was inducted into the  Songwriters Hall of  Fame in 1992 and then the Rock and Roll Hall of Fame in 1999. 

Click here for tickets

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August 11

Journey & Def Leppard at Fenway Park

Boston, MA

Legendary rock bands Journey and Def Leppard are combining to bring a huge show to Fenway Park. 

Def Leppard is one of only five rock bands with two original studio albums selling more than 10 million copies in the U.S.

Overall, they have sold more than 100 million records all over the world. 

Journey has sold over 80 million albums worldwide, earned 19 top 40 singles and 25 gold, platinum and multi-platinum albums, and has headlined multiple sold-out stadiums. 

Click here for tickets

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August 12

The Beach Boys at Indian Ranch

Webster, MA

The legendary Beach Boys are returning to Indian Ranch this August for a concert that you don’t want to miss. 

The group had over eighty songs chart worldwide, thirty-six of them US Top 40 hits (the most by an American rock band), four reaching number-one on the Billboard Hot 100 chart. The Beach Boys have sold in excess of 100 million records worldwide. 

Click here for tickets 

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August 24 & 25

Kenny Chesney at Gillette Stadium 

Foxboro, MA

Kenny Chesney is bringing his “Trip Around the Sun” tour to Gillette Stadium with special guest Dierks Bentley. 

Kenny Chesney has already performed at Gillette Stadium more times than any other artist and broke 9 attendance records during his 2015 Big Revival Tour.

Chesney has recorded 20 albums, 14 of which have been certified gold or higher by the RIAA, produced over 40 top 10 singles on the U.S. Billboard Hot Country Songs and Country Airplay Charts, 28 of which have reached #1.

Click here for tickets 

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August 3o

Rhythm and Roots

Charleston, RI

21st Annual Rhythm and Roots Music and Dance Festival Every Labor Day Weekend at Ninigret Park Best Festival for Music.

Get tickets here

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Every Week

Live Music at GoLocal LIVE’s Alex & Ani Lounge 

Providence, RI

Be sure to stay tuned to the Alex & Ani Lounge on GoLocal LIVE where you will see some of the best local musicians in the state perform. 

To date, local stars like Allysen Callery, Mickey Lamantia, the Billy Harpin Band and others have all taken the stage at the Alex & Ani Lounge. 

Stay tuned all Spring and Summer to check out the performances. 

Click here for past performances

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Private jet once owned by Elvis Presley for sale – again

ALBUQUERQUE, N.M. – A private jet once owned by Elvis Presley that has sat on a runway in New Mexico for nearly four decades is back on the auction block.

The online auction site IronPlanet announced this week that the plane with red velvet seats had returned the market after its current owner bought it last year for $430,000.

A previous auction house says Elvis designed the interior that has gold-tone woodwork, red velvet seats and red shag carpet. But the red 1962 Lockheed Jetstar has no engine and needs a restoration of its cockpit.

The plane was owned by Elvis and his father, Vernon Presley.

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ALBUQUERQUE, N.M. – A private jet once owned by Elvis Presley that has sat on a runway in New Mexico for nearly four decades is back on the auction block.

The online auction site IronPlanet announced this week that the plane with red velvet seats had returned the market after its current owner bought it last year for $430,000.

FILE - In this 1973 file photo, Elvis Presley sings during a concert. A private jet once owned by Elvis Presley that has sat on a runway in New Mexico for nearly four decades is back on the auction block. The online auction site IronPlanet announced this week that plane with red velvet seats had returned the market after its current owner bought it last year for $430,000. (AP Photo/File)

FILE – In this 1973 file photo, Elvis Presley sings during a concert. A private jet once owned by Elvis Presley that has sat on a runway in New Mexico for nearly four decades is back on the auction block. The online auction site IronPlanet announced this week that plane with red velvet seats had returned the market after its current owner bought it last year for $430,000. (AP Photo/File)

A previous auction house says Elvis designed the interior that has gold-tone woodwork, red velvet seats and red shag carpet. But the red 1962 Lockheed Jetstar has no engine and needs a restoration of its cockpit.

The plane was owned by Elvis and his father, Vernon Presley.

It has been privately owned for 36 years and sitting on a tarmac in Roswell, New Mexico.

Lindsay Goldstein, a spokeswoman for IronPlanet, said the jet is still grounded in Roswell and the current owner “has not made any changes to this piece of history.”

Photos of the plane also show the exterior in need of restoration and seats of the cockpit torn.

A previous owner disputed an auction house’s claim the king of rock ‘n’ roll designed its red velvet interior.

Roy McKay told KOB-TV in Albuquerque (https://goo.gl/GpE3zV) he designed the interior himself. McKay said that when he purchased the jet, it had a two-toned grey interior and “kind of looked like a casket.”

But then-GWS Auctions Inc. spokesman Carl Carter told The Associated Press the auction house is confident Elvis designed the interior, which photos show has red velvet seats and red shag carpet.

IronPlanet also is confident Elvis designed its red velvet interior, Goldstein said.

Federal Aviation Administration records show no interior changes were ever made to the jet, Carter said.

IronPlanet is accepting online bids for the plane until July 27.

Presley was born in Tupelo, Mississippi, on Jan. 8, 1935, and moved to Memphis, Tennessee, with his parents at age 13. He became a leading figure in the fledgling rockabilly scene by covering songs originally performed by African-American artists like Big Mama Thornton (“Hound Dog”) and Arthur Crudup (“That’s All Right”).

His provocative dancing and hit records turned him into one of the 20th century’s most recognizable icons. Historians say his music also helped usher in the fall of racial segregation.

Elvis was 42 when he died on Aug. 16, 1977, in Memphis.


Associated Press writer Russell Contreras is a member of the AP’s race and ethnicity team. Follow Contreras on Twitter at http://twitter.com/russcontreras

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Some marijuana convictions could disappear if voters approve legal pot

Untold thousands of Michiganders could be in line for a second chance if voters decide to legalize the recreational use of marijuana in the Nov. 6 election.

In some other states where recreational use of marijuana has been legalized, voters or lawmakers have decided to make it easier for people convicted of marijuana crimes to get their records expunged or sealed. And Michigan could be on the same path if a bill introduced last week by state Rep. Sheldon Neeley gets a hearing and is passed.

“I hope we will listen to the will of the people. If the November vote is loud and clear, we should take a good look at it and balance the playing field on the usage of marijuana in the state of Michigan,” said the Flint Democrat. “We definitely don’t want people to have a criminal record for a nonviolent crime that is now legal if it passes in November.”

His bill would only deal with misdemeanor convictions, such as use or possession of small amounts of marijuana as well as some cannabis growing. But under the legislation, judges “shall grant” requests for expungement of criminal convictions if the proposal is passed by voters and the convictions are no longer considered a crime under the legalization.

Paige, a 20-year-old from Birmingham who didn’t want her last name divulged, spent $10,000 and 21 months trying to clear her name so she could get a job in a nursing home and get accepted to nursing school. After she was pulled over for driving in Ferndale without her lights on and a police officer spotted a small bag of marijuana in her car, she was arrested, charged and convicted of improper transportation of about 1 gram of what she said was medical marijuana in her car.

She said the arrest temporarily ended her dreams of working in the health care industry because the state prohibits people with drug convictions from getting licensed to work in that field.

She had already gotten certification to be a nurse’s assistant, she said, “but I found out through a job I applied for at a nursing home. They told me the State of Michigan said I couldn’t work there. I was so embarrassed. It’s definitely not something you want attached to your name.”

If she had her application in for nursing school at the time, she would have been told the same thing.

She said went back to Oakland Circuit Court and a judge decided to give her a second chance and removed the conviction from her record.

“I was labeled as a bad person for something that was legally prescribed. I just wanted to show the world I wasn’t a bad person,” she said, adding that she has a medical marijuana card for treatment of severe migraines that began when she was 7. 

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But Paige, who since the expungement has landed a job in a Troy nursing home and is set to begin nursing classes in the fall, is the exception, rather than the rule.

In the last five years, 117,123 Michiganders have been arrested and charged with misdemeanor marijuana offenses and 49,928 of those people have been convicted, according to statistics compiled by Michigan State Police from records supplied by county prosecutors and courts.

Nationally, according to figures compiled by the American Civil Liberties Union (ACLU), 8.2 million people were arrested for marijuana offenses between 2001 and 2010. African-Americans were three times more likely to be arrested for marijuana crimes as whites, according to the data, compiled from the FBI’s annual crime statistics.

Altogether, 3,670 people are either in prison, jail or on probation for felony marijuana convictions, according to the Michigan Department of Correction’s 2016 annual report of its inmate population. Some of those convictions are for high-level marijuana distribution charges, but others are for possession or use of marijuana. Neeley’s bill would allow some of those people to request an expungement of their conviction, but judges wouldn’t be required to grant those requests.

Not many marijuana offenders are locked up in county jails in metro Detroit. In Wayne County, 25 of the 1,725 inmates in the county jail are there on felony marijuana charges and no one is locked up on a misdemeanor pot charge, according to Undersheriff Dan Pfannes. Others may be there on marijuana crimes, but have other charges pending as well, he said. In Oakland County, seven of the 1,300 inmates are in jail on misdemeanor marijuana charges and four for felony crimes, said Undersheriff Mike McCabe.

“If you’re a nonviolent misdemeanor person, you don’t spend a significant amount of time in the Wayne County Jail,” Pfannes said.

The Coalition to Regulate Marijuana Like Alcohol, which spearheaded the petition drive that got the marijuana legalization on the November ballot, considered adding a clause that would have allowed for expungement of criminal convictions. California did the same thing in 2016 when voters there passed a referendum to legalize weed by a 57 percent to 43 percent margin.

But there was a fear that because the proposal would deal with more than one state law that it could become vulnerable to a legal challenge.

“Expungement is a separate issue than legalization,” said Josh Hovey, spokesman for the coalition. “Our first draft included expungement, but our attorneys strongly recommended pulling it or risk the whole thing.”

Neeley hopes his bill will get a hearing before the November election, but that’s unlikely in the Republican-controlled Legislature.

“I’d like to see it taken up before the November election so people will have a clearer vision of what’s going to happen going forward,” he said, noting he hasn’t made up his mind on how he’ll vote on the ballot proposal. 

But he will have support from some of the candidates running for statewide office. All the Democratic gubernatorial candidates — former Senate Minority Leader Gretchen Whitmer, former Detroit Health Department Director Abdul El-Sayed and retired businessman Shri Thanedar, as well as attorney general candidate Dana Nessel — favor the pot legalization proposal and allowing for the expungement of low-level marijuana convictions.

All of the Republican candidates for governor — Attorney General Bill Schuette, Lt. Gov. Brian Calley, state Sen. Patrick Colbeck and Saginaw Township doctor Jim Hines, as well as Speaker of the House Tom Leonard, R-Dewitt, and Sen. Tonya Schuitmaker, R-Lawton, who are running for attorney general, oppose legalizing marijuana, but they have said they would respect the will of the voters if the measure passes. Schuitmaker said it would make sense to expunge low-level convictions, but she would want to check with prosecutors first to see whether the original charge was more severe and pleaded down. None of the other GOP candidates were willing to address the expungement issue before the legalization vote is taken.

In addition to California, Colorado, Maryland, New Hampshire and Oregon have taken steps to make it easier for people to get their convictions sealed or expunged. Gov. Brian Sandoval, a Nevada Republican, vetoed a bill last year that would have made clearing those convictions easier, saying that the bill didn’t differentiate enough between low-level and more serious crimes.

For Paige, the question of legalizing marijuana for recreational use is complicated. She fully supports cannabis for medical use, but isn’t sure about full legalization. For either category, however, she believes everyone deserves a second chance.

“If you have a medical card, you shouldn’t be taking away people’s dreams,” she said. “And if it’s legalized, there is no reason for a person to live with those skeletons in their closet.”

San Francisco Elects Its First Black Mayor, London Breed

London Breed made history on June 13 by becoming the first African American woman to be elected mayor of San Francisco. Her opponent, Mark Leno, was seeking to become the first openly gay man in the position.

Breed, 43, who previously served on the Board of Supervisors for San Francisco as president, is set to take the reins of the city in July and will be concluding Mayor Ed Lee’s term, who passed away in December.

The San Francisco native vowed to lead the economically thriving city through the complications of homelessness, congestion, and pricey real estate. She pledged in her bid to clean up the streets and rid the sidewalks of homeless tent camps, all within her first year of office.

After being announced mayor, Breed led her victory speech with optimism and confidence stating, “I am so hopeful about the future of our city, and I am looking forward to serving as your mayor. I am truly humbled and I am truly honored.” She also addressed San Francisco’s youth, especially those who are growing up in poverty like she herself did, saying, “No matter where you come from, no matter what you decide to do in life, you can do anything you want to do. Never let your circumstances determine your outcome in life.”

Related | San Francisco First Major U.S. City to Ban Fur

When asked to reflect on her achievement as becoming the first black woman to be elected as the city’s mayor, she stated, “It’s really amazing, and it’s really such an honor. I know it meant so much to so many people.”

According to CNN, Leno called Breed on Wednesday to congratulate her.

“She is a remarkable young woman. She is going to do a very fine job and we wish her the best because her success is San Francisco’s success,” Leno said.

The results of the 250,000 ballots were tallied by the San Francisco’s Department of Elections over a period of eight days and by Wednesday Breed established a large enough lead over Leno to claim the job with 2,177 votes.

Breed was raised by her grandmother and lived in the city’s public housing while attending public school. After finishing high school she attended University of California, Davis, where she graduated with a degree in political science and a minor in African American studies. She then earned her master’s degree in public administration from the University of San Francisco. Before starting her career in public office, she worked as an executive director of African American Art and Culture Complex for over a decade.

Image via Getty

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AfriCOBRA

With bright Kool-Aid colors (“Everyone was drinking Kool-Aid,” said the original member Barbara Jones-Hogu), political slogans and portraits of Duke Ellington and Malcolm X, the AfriCOBRA art movement was first founded in 1968 on the south side of Chicago by five artists who wanted to define a “black aesthetic”.

This month, the group is celebrating its 50th anniversary with a retrospective entitled AfriCOBRA: Now at the Kravets Wehby gallery in the Chelsea district of New York City.

“As civil rights activists and an integral part of the black power movement, this art group are still going strong,” said the gallerist Marc Wehby. “I wanted to show people: you’re not looking at a relic or a fossil, you’re looking at vibrant, influential artists who are still making work today.”

All 15 members will show their artworks and some will be featured again in the forthcoming Soul of a Nation: Art in the Age of Black Power exhibition that opens at the Brooklyn Museum on 14 September. It features the works of 60 African American artists from 1963 to 1983.

The first show highlights the origins of the collective, which began in the home studio of Wadsworth and Jae Jarrell, two artists who wanted to build an African American art community among their friends.

Their 1969 manifesto, Ten in Search of a Nation, historically reshaped the mindset of black art communities. The founding member Jeff Donaldson wrote that the goal was “to preach positivity to the people” while combining geometric abstraction and realistic imagery.

Their artwork wasn’t just intended to illustrate their manifesto – it sought to breathe new life into the world. “We were aware of the negative experiences in our present and past, but we wanted to accentuate the positive mode of thought and action,” Jones-Hogu wrote in 2008. “It was specific and functional by expressing statements about our existence as black people.”

Barbara Jones-Hogu - Blackmen We Need You, 1970



Black Men We Need You, by Barbara Jones-Hogu, 1970. Photograph: Courtesy of Kravets Wehby Gallery

Rhythm is a core element of the art collective’s work, but so is celebration of style, color and life. “We are not addressing racial antagonism, which speaks to power,” said the AfriCOBRA artist Michael Harris. “We are speaking to people within the community, so rather than squeezing into the canon, we’re saying let’s expand the canon to include what we do and who we are.”

A few of the group’s members were part of Chicago’s Organization of Black American Culture, which helped create the famous 1967 community mural the Wall of Respect, a revolutionary political artwork of black liberation that paid tribute to 50 black heroes, including Martin Luther King Jr, Aretha Franklin and WEB Du Bois.

Even though these artists came together to help each other, many were ignored by the art world. “People were uncertain about buying an artist who was black and that had a political agenda,” said Wehby. “You’d never see their work at auction or at the Museum of Modern Art, only at the institutions that focused on African American artists.”

Jones-Hogu, who made empowering black imagery with graphic lettering, has a piece in the show that reads: “Black men, preserve our race. Leave white bitches alone.”

The group were rejected from the mainstream art community. “People were afraid,” said Wehby. “Images of black people with fists in the air was not favored – it was only in the past few years that people are realizing this is part of American art history, civil rights history and the black arts movement.”

The exhibition features a work by Nelson Stevens, a Brooklyn-born artist who joined the group in 1969 and is known for creating psychedelic portraits with a bright, Crayola-hued palette. It also features the works of James Phillips, who became a member of the group in 1973, showing his colorful geometric paintings, which are influenced by African patterns, the black arts movement and the Weusi artist collective in Harlem, which he was a part of.

Homage to Murry DePillars by James Phillips, 2010.



Homage to Murry DePillars by James Phillips, 2010. Photograph: Courtesy of Kravets/Wehby Gallery

The exhibition also features a work by one of the group’s youngest members, Kevin Cole, who makes musical references in his lyrical wall sculptures made from metal, wood, cloth and canvas. “When you look at AfriCOBRA, they were like the Black Panthers of the black arts movement,” Cole told the Guardian. “The movement is important because it paved the way for African American artists and it gave them a voice to speak about respect, family, social and political issues.”

The AfriCOBRA movement influenced artists like Kerry James Marshall, reportedly the highest paid living African American artist, who recently broke sales records at Sotheby’s, and Kehinde Wiley, who painted the presidential portrait of Barack Obama.

“The art world for black artists was small,” said Wehby. “It was only recently that people took notice that these artists are incredibly influential.”

But while the group has accomplished a lot since its founding in 1968, it still has work to do. “Mainly, we brought recognition to artist of color and provided mentorship to other artists,” said Cole. “We need more mentorship to artists of color.”

  • AfriCOBRA: Now is showing at the Kravets Wehby gallery in New York from 16 June until 17 August

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Saugerties’ Augusta Savage exhibit will be open through July

They say you can’t keep a good woman down. The same applies to Augusta Savage — you can’t keep a good exhibit closed. Lift Every Voice, an exhibit presented by the Saugerties Historical Society featuring seven sculptures created the Saugerties resident, civil rights activist and sculptor opened on Feb. 17 and will be on display until this August at the historic Kiersted House, 119 Main St.

Born in 1892, Savage was a resident of the hamlet Katsbaan from 1945 until shortly before her death in 1962. “Gus,” as she was known locally by her friends and neighbors, retired from the New York art world in 1945 and moved upstate. To support herself in her new surroundings, Savage raised chickens and pigeons that were sold in New York City and worked at the laboratory of Herman Knaust taking care of mice.

Knaust also kept her supplied with clay so that she could continue to create sculptures. Her subjects were the children who frequently came to visit her, as well as animals.  Savage accepted commissions when she could get them, one of which was a bust of the reclusive author and journalist Poultney Bigelow who resided in Malden-on-Hudson.

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Savage taught art to local children and spent some of her time writing children’s books and poetry to augment her income. She was also invited on occasion to give talks, one in particular about the Congo that she presented at the Atonement Lutheran Church in 1961. 

Before relocating to Saugerties, Savage led a trailblazing career — she was considered to be one of the leading artist of the Harlem Renaissance, an African-American literary and artistic movement during the early 20th century. During the Depression she lobbied the Works Projects Administration to help find work for young artists and was appointed as a director at the WPA’s Harlem Community Center.  

In 1929, she got a chance to study in Paris and while there traveled to other European countries. Upon returning to the U.S. in 1932 she established the Savage Studio of Arts and Crafts and became the first black artist to join the National Association of Women Painters and Sculptors (now called the National Association of Women Artists). Savage was an active spokesperson for African-American artists and in 1935 was a principal organizer of the Harlem Artists Guild.  

In 1939, Savage was commissioned to create a sculpture for the New York World’s Fair.  Inspired by a poem “Lift Every Voice and Sing” by James Weldon Johnson she created The Harp. The sculpture was 16 feet tall and featured 12 singing African-American youths in graduated heights as the strings. The figure of a young man kneeling in front offered music in his hands. Although considered one of her major works, The Harp was destroyed at the end of the fair.

Lift Every Voice, the exhibit presented by the Saugerties Historical Society, is made possible through the generosity of the Baran family: Audrey Steenburn, Wesley Finger and Karen Johnson Myer to whom these sculptures were given by Savage. For operating hours and directions, visit the society’s website at www.saugertieshistoricalsociety.org or contact Marjorie Block, president of the Saugerties Historical Society at (845) 246-0784. l



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‘I can’t continue to do this forever’: Families with children aging out of care seek answers

Every day, the Canto family speeds closer towards a precipice.

Their son Matthew has severe cerebral palsy and requires 24-hour care, and at 18, the pediatric services that have kept him and his family going are slowly evaporating.

First to go, on his 18th birthday, was the respite funding from the Ontario government that helped Matthew’s mother Rose pay for extra help so that he could join the family on the occasional trip.

In two more years, it will be Matthew’s school, where he gets to hang out with classmates with similar disabilities and do favourite activities such as swimming.

“I’m at peace when he’s at school,” Rose said.

She’s worried about a future where Matthew could end up isolated at home, in the care of his aging parents.

“I’ve been looking around for day programs and there really are very few programs that can accommodate his needs. And if I do want to put him in a program I’ve got to hire a nurse,” said Rose. “It just becomes very, very expensive.”

“School is my saviour,” says Rose Canto, whose son Matthew has cerebral palsy. 1:48

The Cantos are far from alone. Across the country, stories are piling up as families anxiously watch their children with disabilities age out of care, graduating into a under-resourced system where programs are few and far between.  

In Newfoundland, a woman in her 60s fears getting sick because of what could happen to her developmentally delayed adult son.

In Manitoba, a group of people with disabilities who “aged out” and found themselves cut off from meaningful access to education and work filed a human rights complaint.

And in Nova Scotia, parents are so discouraged by the years-long wait times for community care spots for their adult children with disabilities that they have stopped putting their names on waitlists altogether.

It was one of those stories — from the Geddes family, in Toronto — that inspired CBC Radio’s White Coat, Black Art to bring together families and experts in town hall meeting called Crisis of Care: Help for Families and their High-Needs Kids as they Age out of the System.

Gilly Geddes, who has autism, will be out of school in two years. Her parents, Ian and Rachelle were told it could be a 20-year-wait for residential care. There are at least 12,000 other Ontarians also waiting for a space.

Fear, anxiety, dread

Like the Cantos, they fear for Gilly’s future, particularly as they themselves grow older.

“I think our fear is that there isn’t a clear plan,” Rachelle Geddes told White Coat‘s Dr. Brian Goldman. “We’re managing, we’re managing, we’re managing … and heaven forbid I get T-boned at an intersection or something.”

As Dr. Yona Lunsky explained, a sudden drop-off in resources and programming can have a devastating toll on people like Gilly and Matthew.

Lunsky is the director of the Azrieli Centre for Adult Neurodevelopmental Disabilities and Mental Health at Toronto’s Centre for Addiction and Mental Health (CAMH).

Panel members Rose Canto, left, Yona Lunsky, middle, and Brendon Pooran, right. (Ruby Buiza/CBC)

“You’re isolated because you can’t leave your home, and you can’t be connecting with other people. You’re not doing something meaningful during the day, [and] you’ve lost the friends you are connecting with when you went to school,” Lunsky said.

It’s a transition that can set the stage for a mental health crisis, not only for the person being cared for, but for entire families.

“If you don’t have the supports and services you need, whether you have a disability or you’re a parent or a sibling… you’re feeling this anxiety and this dread perhaps about what’s going to happen,” she said.

Families versus the system

That dread – and a struggle that extends to an entire family – rings true for Don Andersen. His 16-year-old son Jamie, who has Phelan-McDermid Syndrome, is now living in a residential care home.

A social worker friend helped his family navigate what Andersen describes as “an opaque system with silos” to get his son a spot in residential care.   

“I don’t know how anybody gets through the system without a navigator,” he said.

It was a frequent refrain from experts and families alike: services are spread across multiple government ministries and communication between them is poor, leaving families confused about where to turn.  

Here’s what audience member Brian Cox had to say: 

There were many questions and comments from the town hall audience. Here’s what Brian had to say. 1:25

Concerned about where his 33-year-old disabled son Kapil would live after he was gone, audience member Surjit Sachdev created a non-profit that aims to co-house seniors and people with disabilities.

“You share meals, you share circumstances, you share your milestones…you live in an healthy safe environment ….[you’re] living a dignified life,” said Sachdev.

Financial planning for the future

Beyond advocating, what else can families do to ensure their adult children’s future?

Lawyer Brendon Pooran, who specializes in disability law and helps families plan for the future, suggests starting to plan while children are still young, looking into forming a microboard and establishing a savings account.

A microboard is a “group of family and friends that come together with an individual to form a small not-for-profit corporation.”

Wesley Magee-Saxton, flanked by his service dog Gypsy, recently made the successful transition to living in residence at York University. He described being able to do things others take for granted — like spontaneously joining some friends at a coffee shop — as life-changing for him. (Ruby Buiza/CBC)

The group works together to help the individual make decisions, and “the statistics show … they do facilitate a good life for people,” said Pooran.

His second suggestion is setting up a registered disability savings plan, “a fantastic long term savings plan designed for people with disabilities implemented by the federal government in 2008.”

Banding together for change

Though financial planning is always prudent, Mona Sidler-Hosios warns that newcomers and families without independent wealth can run into additional barriers.

Sidler-Hosios, who works as an occupational therapist at the Toronto District School Board, described the lack of resources for the students she works with who are aging out of care as “reprehensible.”

People shouldn’t have to struggle for care, says occupational therapist Mona Sidler-Hosios. 2:12

“The students that I work with … are at the bottom rung of the ladder. There isn’t enough publicity. There isn’t enough talk about it, and I think that’s part of what the problem is.”

She suggested parents band together to fight for their children. “Why do people who are truly in need have to struggle to get the disability tax benefit, have to struggle to get residential setting, have to struggle to get residential health services?” she asked as the crowd applauded.  

Another panel member, Wesley Magee-Saxton, also called on the audiences to raise their voices to help make change.

Magee-Saxton, who has cerebral palsy and uses a motorized wheelchair to get around, transitioned from high school to his first year of university, where he is studying acting.

Wesley Magee-Saxton, 18, talks about the impact of living in residence had on him. 1:56

“Two words: social media,” he told the audience. “Share your stories.… The more we post about it, the more it becomes recognized and the more people are pressured to do something about it.”

The need for a national strategy

For Pooran and panellist Dr. Jan Willem Gorter, director of the CanChild Research Centre at McMaster University, it’s a national strategy to approach the problem that’s most needed.  

“Trying to facilitate some sort of forum … between federal, provincial and territorial jurisdictions is vital to solving these systemic issues,” suggested Pooran.

For Rose Canto, it’s timing that’s the imperative. 

She hopes that respite services and residential care improve sooner rather than later, for her family’s sake. 

“I’m getting older and I know I can’t continue to do this forever,” she said. “I need to make sure that my son will have a place to go.” 


Written by Kate McGillivray. White Coat, Black Art’s town hall was produced by Erin Pettit.

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