2 Hampton Roads college divisions obtain grant cash from No Child Hungry

VIRGINIA BEACH, Va. (WAVY) – Two Hampton Roads school districts are receiving grants to expand their respective meal programs.

No Kid Hungry, a National Share Our Strength campaign, recently awarded $ 1.6 million in grants to 32 school departments and organizations.

“No Kid Hungry Virginia has given more than $ 4 million in grants across the Commonwealth since March 2020 to provide organizations with the resources they need to feed the communities,” said Sarah Steely, director of No Kid Hungry Virginia. “These could be supplies to safely transport groceries such as cool boxes and packages. It could be the transportation of vehicles and fuel. We’re here to hear what churches need to feed children. “

Steely says all school districts in the Commonwealth went really out of their way to help during the pandemic, especially Hampton Roads, but Suffolk and Virginia Beach public schools stood out.

“They are two great examples of school departments that looked at their existing model and said we want to do more and feed more children and we have the capacity to do so and we just need some support,” she said.

Suffolk Public Schools received a $ 50,000 grant for their Nourishing Our Neighbor mobile pantry, which Steely says was housed at a school but with the grant will be able to come out and have more access to others To have communities.

Virginia Beach received approximately $ 62,000 in grants.

“In Virginia Beach, they applied for funding for a mobile vehicle for their fleet to have more street meals in the coming months and summer to cover as much ground as possible,” she said.

Steely says they will use the money on nutrition education programs as well.

The principal says she was inspired and amazed by what was achieved during the pandemic and that food distribution didn’t stop when the school closed for the summer.

“Every year outside of the pandemic, summer is often the hungriest time of year for children with free and discounted meals. When the last bell rings, it means freedom from teachers and homework, but it is also a loss of those meals and the children do not know where to get their next meal, ”she said.

The ability to feed Virginia’s children is not only a health problem, but also an economic one, according to Steely. Steely says that one in eight children in the Commonwealth is not getting enough to eat.

And expanding their efforts with school districts and organizations is a lifeline not only for many students, but also for the future of Virginia.

“I literally get goosebumps when I talk about it. These children are the future of Virginia. You are our workforce. When children stay healthy and fed, they can do their best, thrive, and return to school to be active and ready to learn. It’s not just an investment in the children themselves, but in the community. I am so proud of these nutrition departments and organizations that are emerging stronger and working for the future of our children, ”she said.

To learn more about No Kid Hungry or to work with the campaign, click here.

Remembering ‘The Very Hungry Caterpillar’ creator Eric Carle | Arts & Leisure

Eric Carle has written books that refuse to stay on the shelf. In bookstores, of course, his titles have disappeared from the shelves for decades, dragged off millions of times by parents and grandparents, by aunts and uncles and teachers. Anyone who needs a gift for a small child or baby knows that you can’t go wrong with “The Very Hungry Caterpillar”, “Brown Bear, Brown Bear, What Do You See?”. or (my personal favorite for obvious reasons) “The Grouchy Lady Bug”.

All kinds of wonderfully beautiful and easy-to-read children’s books stay exactly where they were put after they are tidied up until an adult pulls them out again. Carle’s books refuse. They jump off the shelves when mom or dad or nana or pop pop isn’t looking; They lie on the floor or bed or table, open and closed, their iconic splashes of color, which Carle magically transformed into immediately recognizable shapes, and beam at you innocently.

Children cannot keep their hands off it. You love them. You love her so much that if you have to read this damn book to them all over again, you will go crazy; and however, you have memorized them completely; and if you close your eyes for even a minute you can see that red bird or the cucumber or the ladybug on your eyelids, possibly for the rest of your natural life.

But of course you read it. Again and again and again They are lovely, calming, gently amusing, totally predictable, and totally calming. In contrast to “Where the Wild Things Are”, they don’t need different voices to capture a language that imitates adventure or excites children. Where Dr. Seuss Rock ‘n’ Roll is – manic and funny, words in their ambiguity, all sorts of crazy creatures that get in trouble and disappear again – Eric Carle is simple and stately as a waltz.

He created true picture books, alive with engaging imagery and narrative unfolding through repetition and gentle revelation, the perfect disguise for storytelling that taught color, counting and the art of reading.

Children know where they are with an Eric Carle book: in front and in the middle. He saw the world as they did, filled with things to be observed, identified, counted and connected, all important enough to be repeated.

Below are some stories from our staff about their encounters with Carle – as children, as parents, as a family – starting with my own.

My family read at least five copies of “The Very Hungry Caterpillar”, but it was “Brown Bear, Brown Bear” that became an integral part of our lives.

My son Danny has always loved books, but when he was in kindergarten, like many boys, he had a bit of a problem with the reading department. He was our first child and we certainly didn’t help much – what with our nightly “homework” reading of the dreaded Bob books and our over-excited assurances that he would “get” it soon.

One night when I was putting her to bed, his three year old sister Fiona took “Brown Bear” (from the table – he never seemed to make it to the bookshelf) and began to “read” it aloud. Danny burst into tears.

I want to say that Fiona didn’t take the opportunity to look complacent, but that would be a lie – little sisters enjoy their triumphs wherever they can. Fortunately, she soon made the fatal mistake of turning two pages instead of one and still “reading” the book in the correct order, which enabled me to convince Danny that she was reciting and not reading.

So, of course, many of us learn to read – to memorize sounds by heart and match them to the shape of letters and words – but I didn’t feel the time was right to point it out.

Everyone calmed down, Danny soon became a voracious reader and, over the years, a well-placed “brown bear, brown bear, what do you see?” often defused those pesky “too / not” arguments that can force parents to wonder if their decision to quit smoking before they had children wasn’t a little hasty.

One of the most pressing, but underreported, challenges as a parent is finding books that you can stand to read to your children hundreds – possibly thousands – of times without completely losing your mind. There are books that your kids will want to hear over and over again and that you will read to the point where every word, picture, phrase is easier to remember than your own social security number. Some of them will be so stupid or irritatingly nonsensical that you will regret the day they were written and then accidentally put them behind the couch on purpose.

Then luckily there are Eric Carle’s books, loved by generations because you can’t go wrong with the colorful collage illustrations, the whimsical designs that made the book itself part of the narrative (pages with holes in them!) or the gentle life lessons on kindness and patience focused on the natural world. Pretty much everyone born after 1970 grew up on “Caterpillar” in constant rotation, so for those of us who are parents now, there is the added pull of nostalgia.

While the classics – “Caterpillar” and “Brown Bear” – are indispensable in our home, as in millions of others, my kids seem really drawn to a deep head-to-toe Carle cut.

In the book, one creature after another makes its signature gesture – there’s a gorilla pounding on its chest, an elephant stomping its feet – and then prompts the reader to do the same: Can you do that? In response, my daughters eagerly wave their arms like monkeys and kick their feet like donkeys, but sometimes struggle like a buffalo to “shrug” their shoulders. Figuring it out is part of the fun. It’s an engaging little book that will help toddlers expand their vocabulary and recognize a range of animals and body parts. But it also strengthens them through the game. Best of all, as the parents, you can be the audience and watch your kids play.

The Very Hungry Caterpillar was one of the first books my parents read to me when I was born in 1996. It was one of my favorite books.

When I learned to speak, the book had become my encyclopedia. I would imitate the title character and keep shouting, “I’m so hungry!” The book taught me colors, days of the week, and types of food. It also piqued my interest in metamorphosis.

It was my first encounter with creativity. I would draw and color in pages from the book so my mother could hang them on the fridge. Now, 25 years later, I find time to do art every week – mixed media, paintings, and digital drawings. I still emulate Eric Carle, mixing and mixing colors and reaching for the innocent whimsy of those first years of my life.

Carle’s ultimate gift was the idea of ​​creation, the idea that every transformation in life is the invention of something new.

As I got older and became an uncle, I read it to my niece and nephew who will pass it on – initiating new generations of creation and change, a gift that doesn’t stop giving.

Where do you start teaching kindergarten, the basis for all possible life skills? For many teachers in the US, including my mother, it was “Brown bear, brown bear, what do you see?”

The now-retired kindergarten teacher of 34 turned to the picture book by Bill Martin Jr. and Eric Carle every year to teach the things in life. It taught colors, of course: in the end, students were able to name all shades of the rainbow, even if they would never find a blue horse in real life.

They also learned the shapes while making paper reproductions of each animal: a red triangle for the red bird, a purple oval for the cat. Cutting out these figures was a lesson in itself, the small hands wrapped around safety scissors teaching fine motor skills.

Long after the last student left home, my mother sat in her classroom and pieced together those pages of colors and shapes into a thick craft paper book – one for each student who put their handmade artwork together – for all to take away and read to make their own Parents. From a book came 30.

It’s hard to overestimate the impact Eric Carle has made on generations of readers, including myself; his work is embedded in our first learning memories. I tend to believe that more worn copies of The Very Hungry Caterpillar are read and passed on than they are bought new.

The copy my mother read to her students is the same one she read to me and my older brothers. All the books we read as children were given to my mother’s class library; our last name is handwritten in sharpie on the corner of each envelope, with faulty stickers or drawings inside.

Children’s books were just as important to our family as they were to my mother’s job. On Christmas Day 1999, my two brothers, aged 12 and 13, gave my mother a present that they thought was appropriate for a type of teacher like them: “The Very Quiet Cricket”, complete with a chirping orchestra in the middle.

Spring in mom’s classroom was the domain of Carle’s most famous omnivore. The book is her favorite. “The students are always amazed that the caterpillar can turn into a butterfly,” she recalls. They sing butterfly songs and make butterfly handprints that are modeled on the brightly colored wings of Carle’s original illustration.

Spring also marks the high point of the school year – nine months, a drop in the bucket for an adult, but a life of growth and learning for a first-time five-year-old in school.

Every year, to bring Carle’s story to life, my mother ordered live caterpillars from the science education store. They lived in a lattice cage and grew larger, much like the hero in Carle’s book, until they crawled and crawled to the top of the container and turned into dolls.

When the critters had transformed, all the kindergarten children gathered outside in a large circle to celebrate them. Together they named each new friend and watched as my mother opened the cage and let go of the butterflies one by one.

© 2021 Los Angeles Times. Visit at latimes.com. Distributed by Tribune Content Agency, LLC.

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Dwell leisure venues hungry for monetary reduction after yr of pandemic closures

The click of a light switch echoes these days at the empty Stone Church music club in Brattleboro, Vermont. Owner Robin Johnson says the silence is a daily reminder of a devastating pandemic year with no live performances in the hall.

“When we first closed, everyone agreed it was going to be a few months and we would be back, it would be fine,” Johnson told ABC News. “It all developed and changed so quickly.”

Hundreds of live entertainment venues nationwide – which were among the first to operate after the Coronavirus Pandemic hit and now among the last to be fully reopened – on the verge of financial bankruptcy, even as other sectors of the U.S. economy slowly come back to life. Many have already closed for good.

“Unfortunately, we estimate about 300 and that’s the kind of thing that just crushes every day. And when I open my laptop and get a note about someone else, it’s just devastating because it was through no fault of my own.” said Audrey Fix Schaefer of the National Independent Venues Association.

Broadway theaters in New York City went dark exactly a year ago this week and won’t reopen until May at the earliest. From the New Orleans jazz scene to California’s Sunset Strip, many legendary stages and nightclubs say they are on the verge of getting out of business.

In late December 2020, Congress approved a $ 15 billion relief specifically to help closed venues survive the pandemic – an amount that proponents consider to be the largest federal show of support for the arts and culture in US history have designated.

But months later, none of the money was distributed.

“It is still extremely bad because the money has not yet flowed and it will be difficult if we wait. We do not know how long it will take,” said Schäfer.

The Small Business Administration, which manages the grants, tells ABC News that it has “no specific date” for accepting applications, but is expected to do so in early April. Up to 30,000 venues could be eligible, a spokesman said.

Relief will come too late for some venues that simply cannot stand the uncertainty or take on rising debts.

“We’re literally the type who jogged and got hit by the meteor like one with a trillion chance,” Will Eastman, owner of U Street Music Hall, told ABC News in July 2020. Its venue went down in October.

Some of the music’s biggest stars, including Dolly Parton and the Foo Fighters, have come together to put pressure on government and private sector groups to do more to help.

“Neighborhood-free venues like the places I started at run the risk of being closed forever,” says Parton in one recently released PPE.

Earlier this year, industry groups reached out to the White House urging it to rent empty venues as government vaccination sites. Others have held “empty events” – illustrative demonstrations including a stage, banquet tables, and chairs that are not in use – to highlight the impact of the pandemic on the entire industry in hopes of more direct help.

Artists and musicians say the pandemic has impacted creativity and community.

“Music is a shared experience, or in its most optimized form, a shared experience. That’s why we miss that interaction,” Grammy-nominated EDM artist BT told ABC News. “It’s tough, man, because you lack that kind of constructive feedback loop that makes the creative process so exciting.”

The closure of so many live venues has also hurt the recovery of the local economy.

“It is extremely important for any community to have these types of venues open and important. They are vital to the economy,” said Lauren Wayne, general manager of the now-closed Port City Music Hall in Portland, Maine. “They spend money in the restaurants. They buy drinks. They go shopping beforehand and stay at the hotel.”

Nancy Shaffer, president of the Live Events Coalition, said there are 12 million people in the live events industry who typically help generate $ 1.4 trillion. Only 8% of live events are “stage” based, so many are still in need.

“When you talk about live events yourself, you are talking about planners, designers, lighting and sound engineers. You are talking about florists. You are talking about caterers,” Shaffer said. “If you think about it, the ecosystem goes all the way back to agriculture.”

In some places, this ecosystem is slowly recovering. New York City, once the epicenter of the outbreak, has now reopened cinemas for the first time since last March. At least 11 states have lifted all COVID-19 capacity limits for indoor gatherings and live events.

“Most likely the rallies are at full capacity [nationwide] From what we see in terms of the data, it probably won’t happen until 2022, “said Dr. John Brownstein, epidemiologist at Boston Children’s Hospital and a contributor to ABC News.” Of course, nightclubs are a lot of fun, but they’re also likely the places with the least amount of social distancing and the least ability to control the spread of infection. “

At Stone Church in Vermont, Johnson is cautiously optimistic.

“I was able to move a little more from the disaster thinking type to future thinking and thinking about what we need to do to keep the venue safe and open,” he said, hoping for the financial relief to be distributed this spring and the speeding up of vaccinations lays the groundwork for the fall reopening.

“I think this time without live music a lot of people will learn how important it is to their lives,” he said. “And how important it is to support it and support independent artists and venues.”

Copyright © 2021 ABC News Internet Ventures.

Dwell leisure venues hungry for monetary aid after yr of pandemic closures

The click of a light switch echoes these days at the empty Stone Church music club in Brattleboro, Vermont. Owner Robin Johnson says the silence is a daily reminder of a devastating pandemic year with no live performances in the hall.

“When we first closed, everyone agreed it was going to be a few months and we would be back, it would be fine,” Johnson told ABC News. “It all developed and changed so quickly.”

Hundreds of live entertainment venues nationwide – which were among the first to operate after the Coronavirus Pandemic hit and now among the last to be fully reopened – on the verge of financial bankruptcy, even as other sectors of the U.S. economy slowly come back to life. Many have already closed for good.

“Unfortunately, we estimate about 300 and that’s the kind of thing that just crushes every day. And when I open my laptop and get a note about someone else, it’s just devastating because it was through no fault of my own.” said Audrey Fix Schaefer of the National Independent Venues Association.

Broadway theaters in New York City went dark exactly a year ago this week and won’t reopen until May at the earliest. From the New Orleans jazz scene to California’s Sunset Strip, many legendary stages and nightclubs say they are on the verge of getting out of business.

In late December 2020, Congress approved a $ 15 billion relief specifically to help closed venues survive the pandemic – an amount that proponents consider to be the largest federal show of support for the arts and culture in US history have designated.

But months later, none of the money was distributed.

“It is still extremely bad because the money has not yet flowed and it will be difficult if we wait. We do not know how long it will take,” said Schäfer.

The Small Business Administration, which manages the grants, tells ABC News that it has “no specific date” for accepting applications, but is expected to do so in early April. Up to 30,000 venues could be eligible, a spokesman said.

Relief will come too late for some venues that simply cannot stand the uncertainty or take on rising debts.

“We’re literally the type who jogged and got hit by the meteor like one with a trillion chance,” Will Eastman, owner of U Street Music Hall, told ABC News in July 2020. Its venue went down in October.

Some of the music’s biggest stars, including Dolly Parton and the Foo Fighters, have come together to put pressure on government and private sector groups to do more to help.

“Neighborhood-free venues like the places I started at run the risk of being closed forever,” says Parton in one recently released PPE.

Earlier this year, industry groups reached out to the White House urging it to rent empty venues as government vaccination sites. Others have held “empty events” – illustrative demonstrations including a stage, banquet tables, and chairs that are not in use – to highlight the impact of the pandemic on the entire industry in hopes of more direct help.

Artists and musicians say the pandemic has impacted creativity and community.

“Music is a shared experience, or in its most optimized form, a shared experience. That’s why we miss that interaction,” Grammy-nominated EDM artist BT told ABC News. “It’s tough, man, because you lack that kind of constructive feedback loop that makes the creative process so exciting.”

The closure of so many live venues has also hurt the recovery of the local economy.

“It is extremely important for any community to have these types of venues open and important. They are vital to the economy,” said Lauren Wayne, general manager of the now-closed Port City Music Hall in Portland, Maine. “They spend money in the restaurants. They buy drinks. They go shopping beforehand and stay at the hotel.”

Nancy Shaffer, president of the Live Events Coalition, said there are 12 million people in the live events industry who typically help generate $ 1.4 trillion. Only 8% of live events are “stage” based, so many are still in need.

“When you talk about live events yourself, you are talking about planners, designers, lighting and sound engineers. You are talking about florists. You are talking about caterers,” Shaffer said. “If you think about it, the ecosystem goes all the way back to agriculture.”

In some places, this ecosystem is slowly recovering. New York City, once the epicenter of the outbreak, has now reopened cinemas for the first time since last March. At least 11 states have lifted all COVID-19 capacity limits for indoor gatherings and live events.

“Most likely the rallies are at full capacity [nationwide] From what we see in terms of the data, it probably won’t happen until 2022, “said Dr. John Brownstein, epidemiologist at Boston Children’s Hospital and a contributor to ABC News.” Of course, nightclubs are a lot of fun, but they’re also likely the places with the least amount of social distancing and the least ability to control the spread of infection. “

At Stone Church in Vermont, Johnson is cautiously optimistic.

“I was able to move a little more from the disaster thinking type to future thinking and thinking about what we need to do to keep the venue safe and open,” he said, hoping for the financial relief to be distributed this spring and the speeding up of vaccinations lays the groundwork for the fall reopening.

“I think this time without live music a lot of people will learn how important it is to their lives,” he said. “And how important it is to support it and support independent artists and venues.”

Copyright © 2021 ABC News Internet Ventures.