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R.I. to supply body cameras to all police officers

Rhode Island Attorney General Peter Neronha and state legislators announced new legislation on June 16 to provide body-worn cameras to all 1,700 frontline police officers in the state. The bill has passed both the House and Senate. 

While the Providence and Newport Police Departments already require officers to wear body cameras, the recently introduced program will provide the necessary funding to all other participating police departments to cover the combined cost of the body camera equipment, the platform for redacting personally-identifying civilian information and the video storage needed for the next five years, Neronha said in an interview with The Herald. 

Departments will not have access to funding until after the State has decided upon the guidelines and procedures for the body camera program, conversations which will take roughly six to 12 months and will occur through a series of public hearings, Neronha added.

 Neronha and his staff conceived of the program in the midst of last summer’s Black Lives Matter protests as his office was handling its own case of excessive police force in which body camera footage, and to a lesser extent bystander footage, played a “critical” role in the prosecution.

“In every case I’ve evaluated, it always comes down to how do I know what happened and how do I prove what happened,” Neronha said. He believes body cameras help answer these questions by resolving competing versions of events in order to hold officers accountable as well as to vindicate those who are innocent.

“We knew there was a law enforcement trust issue,” he said. “I felt like our office had an opportunity … to lead in that space.”

Neronha announced the program two weeks ago alongside leaders of the Rhode Island State Police and the Rhode Island Police Chiefs Association, which researched and piloted body cameras over the past year, according to a press release.

In a press conference announcing the program, West Greenwich Police Chief Richard Ramsay, president of the RIPCA, confirmed that the state’s police chiefs support the program, the benefits of which he said are “well-established.”

State Police Superintendent Col. James Manni also spoke at the conference, calling body cameras a “piece of equipment critical to building public trust and creating transparency.”

“We cannot afford not to have these,” he added.

 The cameras “have proven to be a useful tool” to the Providence Police Department, the first in the state to equip officers with body cameras, and have helped advance the department’s goal of “being as transparent as possible with the community,” PPD Spokesperson Lindsay Lague wrote in an email to The Herald.

Cedric Huntley, executive director of the Nonviolence Institute, an organization that practices and promotes nonviolence as a solution to communal violence and that partners with the PPD, said that body cameras are important for accountability and public safety. Although he believes cameras will “help in the process” of building trust, he acknowledged the program alone won’t solve “the years and generations” of distrust between individuals in the community and law enforcement. 

Harrison Tuttle, executive director of Black Lives Matter RI PAC, agreed, believing “the trust between the Black and brown community and the police has been severed.”

While Tuttle said the program is “absolutely necessary,” citing the role video footage has played in documenting instances of police brutality and sometimes ushering “real justice,” he does not believe it solves systemic issues such as the “war on poverty” and mental health, which he says underlie deaths “at the hands of the police.” 

Tuttle also noted that police have acted with excessive force even when equipped with the cameras. “People didn’t stop dying after George Floyd,” he said. “Oftentimes, the instances in which we see police brutality on the news are from body cameras … so I’m not sure (they’re) a solution.”

Last year, Neronha tasked his team with researching what he believed would be the primary basis for opposition to a body camera program: cost. 

In an effort to minimize the use of state taxpayer funds, Neronha sought to help pay for the program by mobilizing as much money as possible from the funds his office acquired from asset forfeitures and civil cases of corporate misconduct. In the end, his office contributed $1 million. The current state budget bill provides an additional $15 million for the five-year program.

Tuttle, who noted that “police budgets have only increased” after a year of nationwide efforts to defund the police, said he generally favors reallocating funds to “community-based solutions.”

While he believes the program is important for accountability, Tuttle added that the $15 million provided by the state budget is money that could have instead gone toward providing students “materials for school” or other services. 

Huntley thinks that reallocating funds from the police to other services is appropriate in certain circumstances, but he believes body cameras are “a great investment” that can answer questions from the public and resolve confusion surrounding incidents involving the police.

To follow the body camera initiative, Tuttle proposed that the state adopt a program similar to CAHOOTS in Eugene, Oregon, in which mental health professionals respond to non-violent 911 calls instead of police. 

Neronha said the specific guidelines and procedures for the program, such as when body cameras must record, have not yet been finalized. While he expects to publicly release any body camera footage relevant to a case of police misconduct, he conceded that “timing is a trickier question,” given that the premature release of footage can compromise the prosecution of a case. 

Neronha offered the example of witnesses who can’t fill in gaps of missing information because their testimonies are biased by a news broadcast. He also suggested that a judge might deem the release as “unfair pretrial publicity” and take measures that could impede the prosecution of the case.

“Ultimately,” he said, “I hope (the body camera program) will instill confidence in the criminal justice system.”

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‘Damn These Heels’ LGBTQ+ Film Festival Gives Platform to Unique Voices

 

After an unusual year, the “Damn These Heels” Queer Film Festival returns July 9-18 with both in-person and virtual content and events showcasing 50 feature-length and short films. The annual festival includes documentary and dramatic films from around the world that explore issues and ideas from this community and celebrate queer art, queer stories, queer love and the lived experience of LGBTQ+ people.

History of the “Heels”

“Damn These Heels” is the longest-running LGBTQ+ film fest in the Mountain West, according to partner Utah Film Center, and has presented over 260 films since it began, giving a platform to voices and experiences that would otherwise be inaccessible.

“I am so proud that this year’s program provides such a well-rounded look at the LGBTQIA+ spectrum from all angles. Themes of resilience, unearthing history, and boundary pushing are at the forefront this year. There is truly something for everyone in this program,” said “Damn These Heels” Director of Programing Ash Hoyle in an event press release.

Audiences can take part in the festival with films, conversations and Q&As virtually with streaming via Eventive — in-theatre screenings will be held at the Rose Wagner Theatre. The festival kicks off with an opening-night drive-in at the Fairpark and a closing weekend event at Liberty Park. 

Film Lineup and Features

The opening night drive-in feature, “My Name is Pauli Murray,” candidly examines the life of non-binary Black activist, lawyer and writer Pauli Murray. The documentary, directed by Betsy West and Julie Cohen, is told mostly in Murray’s own words and shows the journey and fight to exist beyond previously accepted categories and cultural norms. The screening will be preceded by a drag show. 

Other films are available throughout the festival with several in-person screenings and streaming options, covering a variety of genres and perspectives.

For history buffs, the festival recommends films like “Cured,” “No Ordinary Man” and “Rebel Dykes.” For teens, they suggest “No Straight Lines” and “We’re All Going To the World’s Fair.” For fans of comedy, there is “Dramarama,” “Potato Dreams of America” and “S**t and Champagne.”

The festival’s lineup has a little something for everyone, and the “Damn These Heels” team invites Cinephiles and casual moviegoers alike to explore their recommendations for BIPOC stories, trans highlights, memorable soundtracks, slam dunks and films that push cinematic boundaries.

The festival will also screen 25 short films in three distinct programs, the first of which is “Through the Cracks.” This section features stories of people, places and experiences that “exist in liminal space, where queerness feels most ripe and most right.”

The second program, “Missed Connections,” “makes a home for stories about rupture, failure, longing, and accident” and features short films characterized by “heartbreak as well as hope.”

The third and final short film program, titled “Apples and Trees,” is a collection of shorts that focus on parents and their children as they “navigate the complexities of coming out, staying out, and living out.”

The film festival closes with an in-person outdoor screening of the animated foreign documentary “Flee.” This film tells the true story of gay Afgan Amin, a refugee from war-torn Kabul whose life and family were ripped apart by war.

“‘Flee’ had an incredible premiere at the Sundance Film Festival 2021 and we are so proud to have partnered with our longtime friends at Sundance to bring it back for Utah audiences as our closing night film and part of the For The Locals Sundance Institute Community Program,” said Hoyle.

 

This year’s festival looks to improve on what has been and towards the future of queerness in film. “I have long admired the important and unique impact of ‘Damn These Heels,’” Hoyle said. “During my time living in Salt Lake City as a young trans person, the films that I experienced at ‘Damn These Heels’ were truly a lifeline, a celebration, and a connector to the larger community.”

Individual tickets and multi-screening passes are available now as well as a detailed program of films and events.

 

h.graham@dailyutahchronicle.com

@_HeatherGraham_

The post ‘Damn These Heels’ LGBTQ+ Film Festival Gives Platform to Unique Voices appeared first on The Daily Utah Chronicle.

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Wente selected 18th overall in NWHL draft by Minnesota Whitecaps

In the 2021 National Women’s Hockey League (NWHL) draft, the Minnesota Whitecaps selected former Minnesota Golden Gopher Taylor Wente with the 18th overall pick.

Wente was a regular force to be reckoned with on the ice for the Gophers, playing in every single game her freshman year on the team (38 games) and ranking second on the team with a +20 plus/minus rating. A senior in the shortened 2020-21 season, Wente played in all 20 games for Minnesota without injury.

Wente allocated 73 total points (29 goals and 44 assists) while playing for the Maroon and Gold. As a center she had an impressive face-off resume, winning 51.9% in over 2,100 draws.

Wente is the 11th Gopher to be selected in the NWHL draft’s short history (est. 2015). The most recent Gophers drafted were Patti Marshall and Alex Woken by the Whitecaps in the 2020 draft. Woken was selected with the fifth overall pick, while Marshall was picked at 11.

“Taylor is a great person and player,” Head Coach Brad Frost said. “It’s a great honor to be drafted.”

Off the ice, Wente finished as a three-time WCHA Scholar-Athlete and WCHA All-Academic honoree. She graduated in May with a degree in Business and Marketing Education.

Despite her success with the Gophers, with highlight-reel moments like her performance against Wisconsin in 2018 WCHA Final Faceoff championship, Wente said via Twitter Thursday night that she would not be lacing up for the Whitecaps next season.

Responding to a tweet from the NWHL’s account (and several others) announcing her selection, Wente tweeted “I’m honored to be selected by @mnwhitecaps. I have decided to continue my professional career as Sales Development Representative @arcticwolf.”

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UH ranks again in the top 100 for utility patents issued

UH

UH

UH ranks among the top 100 for their number of patents issued in 2020. This is the University’s sixth time making the list. | File Photo

UH ranks among the top 100 global universities for the number of utility patents issued in 2020. 

The list is published by The National Academy of Inventors and the Intellectual Property Owners Association. Using data from the U.S. Patent and Trademark Office, the organizations formulate lists of high-performing public and private institutions and have been since 2013.

Now with 37 patents issued, the University found itself on the list for the sixth time in a row, this time ranking at 76. 

Two other Texas universities, The University of Texas and Texas A&M University, also join UH on the list. 

Part of UH’s major success with patents stems from the UH Technology Bridge. The space located adjacent to the University is known for many activities related to research and innovation.

Additionally, the UH Technology Bridge is home to 28 start-ups that aid in moving technologies to the marketplace.

Acquiring a utility patent to the technologies developed are recognized as valuable assets. They help in protecting processes or machines, potentially used to improve the quality of life.

The ranking reflects UH’s contributions to science and technology and their ongoing need to improve the quality of life by addressing the most pressing problems in society, according to Amr Elnashai, vice president and vice chancellor for research and technology transfer at UH. 

news@thedailycougar.com


UH ranks again in the top 100 for utility patents issued” was originally posted on The Cougar

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Andrew Montana’s ‘Strawberry’ is dreamy cottagecore meets murder love song

Andrew Montana’s ‘Strawberry’ is dreamy cottagecore meets murder love song

photo of album cover

Montana Records/Courtesy

Grade: 4.0/5.0

UC Berkeley senior Andrew Montana has been busy working on his debut album, Azalea, Holly, while finishing up his art degree. His newest single, “Strawberry,” is just a taste of his upcoming record, and it’s a folksy, enveloping and somewhat peculiar song (but only upon first impressions). With “Strawberry” taking off on TikTok well before its May 21 release date, the song is sure to continue to be a hit among fans of folk and the dark cottagecore vibes sweeping the social media app and beyond.

What’s most unique about “Strawberry” is its premise. While songs about death and murder have been set to folk music before, the way Montana details how he’d help the subject of the song get away with murder in such a visceral yet stripped-down manner makes it more powerful than if he had included multiple sprawling verses. The singer hides blunt lyrics in a blanket of good vibes — if you don’t really pay attention to the lyrics, “Strawberry” comes off as a typical indie folk song about love.

However, that’s far from what “Strawberry” is. “I’ll bake you strawberry pie/ Clean the blood and never ask why,” Montana sings tenderly and unassumingly, as if he’s innocently professing his love and loyalty instead of inserting them in the midst of a bloody scene. When you look past the unusual pairing of baking and cleaning up a murder scene, “Strawberry” is a profound declaration of love and introspection. It urges listeners to evaluate how far they’d go for the ones they love and embrace the moments exposing parts of their lives and personalities that they fear won’t be accepted. “I’ll be your alibi,” he sings with confidence.

“Strawberry” masquerades as a harmless, cute song, but it has deep layers. The outermost is the twangy, plucking guitar that’s a staple of so many folk songs. Then comes the realization that Montana is crooning about helping someone hide evidence of murder and change their identity to prevent getting caught. The final, innermost layer, is that the song is truly about unconditional love and sticking by your loved ones through thick and thin. The nuances of the track are what make it an enjoyable listen over and over again; as each time it plays, you’ll discover something new in the lyrics, not only about the song, but about yourself as well.

The instrumentals of “Strawberry” are gentle and lulling with moments of brightness sprinkled in. Montana’s deep vocals flow through the song like a river cutting through the countryside, and the sweet harmonies that chime in around the end further uplift the loving nature of the track and veil the brutality found in the lyrics. “Strawberry” is like its namesake: sweet, juicy and just a little tangy when it needs to be.

Montana’s nonchalance and unquestioning acceptance make you forget that “Strawberry” is a song about murder. His talent for melding a soft, folk sound with a mildly gory storyline is impressive, and it’s a unique combination that he somehow makes work. From strawberry pies to hiding bodies, Montana is able to weave not just a sonic experience for listeners, but an emotional journey that grows with every listen.

Pooja Bale covers music. Contact her at pbale@dailycal.org. Tweet her at @callmepbj.

The Daily Californian

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Alumni Pride Month Interview

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Local LGBTQ+ musicians to add to your Pride playlists

As Pride Month comes to an end, it is time to keep the light shining on the incredible musicians that work so hard to create an inclusive and accepting local music scene. Colorado is full of local artists and bands that are part of the LGBTQ+ community. Here are just a small handful of the […]

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What is Intermittent Fasting?

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On-campus COVID-19 vaccination rate reaches 90.6 percent

The COVID-19 vaccination rate for students living on campus for the summer reached 90.6 percent last week, Executive Vice President for Planning and Policy Russell Carey ’91 MA’06 wrote in a June 25 Today@Brown announcement.

This exceeds the 90 percent “near universal vaccination rate” that University administrators stipulated for resuming on-campus activities. The announcement came a week before the July 1 deadline by which all students and employees engaging in on-campus activities must be fully vaccinated.

While employees have yet to surpass the 90 percent mark, vaccination rates for employees engaging in on-campus activity is currently at 82.7 percent, increasing from 74 percent the previous week.

The vaccination rate for the overall student population, which includes students not currently on campus, is currently at 72.1 percent, while the rate for the overall employee population is at 80.7 percent. Students and employees who are currently not engaging in on-campus activities this summer do not have to meet the July 1 deadline but are expected to be fully vaccinated by the start of the fall semester.

Case numbers on campus currently remain consistent with weeks prior, posting a zero percent positivity rate for employees and a 0.05 percent positivity rate for students. The University also plans to discontinue the Brown Vaccine Express as the Dunkin Donuts Center vaccination site will no longer operate after June 26.

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Classifieds – June 30, 2021

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