Cash Committees overview mining tax invoice that can pump $300-plus million into Ok-12 training over subsequent two years

Assembly members during the within-legislature session on Tuesday, March 9, 2021 in Carson City. Photo: David Calvert / The Nevada Independent

Monday, May 31, 2021

The Legislative Money Committees on Sunday examined a bill that will pump more than $ 300 million into K-12 formation over the coming biennium.

Bill 495 is a consensus bill that has been approved not only by lawmakers and the governor, but also by mining and education stakeholders.

It does this by diverting the expected $ 140 million from the existing net proceeds from the mines’ tax revenues into the K-12 budget.

Additionally, the bill includes an excise tax on gross proceeds from gold and silver mines in Nevada. This tax would hit mines with gross revenues of $ 20 million to $ 150 million per year and a levy of 0.75 percent. It would hit mining operations that generate more than $ 150 million a year with a 1.1 percent levy on gross and generate up to $ 170 million more for the biennium, increasing the overall infusion into the K- 12 education amounts to more than $ 300 million.

The hearing of the bill by Assembly Speaker Jason Frierson, D-Las Vegas, was held jointly between the Senate Finance and Assembly Routes committees to expedite processing as Monday is the last day of the 120-day 2021 legislature .

Additionally, the bill would redirect approximately $ 200 million in American Rescue Plan Act funds to K-12 education.

Frierson said the bill was the culmination of months of work between all parties to reach an agreement on a plan that will get the miners to pay more and use the money to educate students in Nevada.

The two committees took no action against AB495 on Sunday evening.

Overview: America struggles to reconcile the Tulsa genocide | Arts & Leisure

“The Groundbreaking: An American City and Its Search for Justice” by Scott Ellsworth (Dutton)

Nobody really knows what 19-year-old Dick Rowland did or said to Sarah Page in Tulsa, Oklahoma when he took the elevator to the fourth floor of the Drexel building, the closest to Rowland’s shoe shine, which has a black one Person standing could use the washroom. But the 17-year-old Page yelled, Rowland ran, and the police were called. Page declined to press charges, but police arrested Rowland anyway the next day.

Soon a white mob appeared in the prison, eager to carry out their justice through a rope hanging from a tree.

But Greenwood blacks rushed to defend Rowland, and that was enough to spark a torrent of falsehoods, especially blacks plotting a rebellion.

As Scott Ellsworth notes in his book “The Groundbreaking: An American City and Its Search for Justice,” radio had not yet come to Tulsa, and in the absence of fact, fiction took over. Within a few hours, thousands of white Tulsans mobilized to exterminate Greenwood.

And that night they killed, looted and burned in the shops, hotels, churches, houses – all in the black community.

The fire brigade rolled to the scene, but only to protect nearby white houses.

Almost immediately, Tulsa’s white community recognized the looming public relations threat posed by the massacre. In the coordinated campaign that followed, references to the killing and destruction of Greenwood were removed – from everything.

This conspiracy of silence went on for a long time.

Jeff Williams, who now lives and works in Long Beach, California, recalls that the massacre was never mentioned while attending Tulsa high school in the 1980s.

This month, Tulsa will finally acknowledge its sins of May 31st and June 1st, 1921 in Remember & Rise observations of the day 36 blocks were wiped out.

How many were killed may never be known. Mass graves are only now being exhumed.

Ellsworth’s book contains an engaging, painful-to-read account of a mass crime that, to our eternal shame as Americans, escaped justice. Few appear to have objected to the deliberate abandonment of any ideal our nation stands for.

The Ellsworth book offers us a clear story of the Tulsa massacre and, with that account, the chance to reconcile one of our darkest hours as a nation.

The readers of this book will fervently hope that we will take advantage of this opportunity.

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Copyright 2021 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed in any way without permission.

Evaluation: Jason Statham, Man Ritchie reunite and have a blast | Leisure




This picture, published by Metro Goldwyn Mayer Pictures, shows Jason Statham in a scene from “Wrath of Man,” a film directed by Guy Ritchie.




This picture, published by Metro Goldwyn Mayer Pictures, shows Jason Statham in a scene from “Wrath of Man,” a film directed by Guy Ritchie.




Review: Jason Statham, Guy Ritchie get back together and have fun

This picture, published by Metro Goldwyn Mayer Pictures, shows Josh Hartnett in a scene from “Wrath of Man,” a film directed by Guy Ritchie.




Review: Jason Statham, Guy Ritchie get back together and have fun

This picture, published by Metro Goldwyn Mayer Pictures, shows from left Holt McCallany, Jason Statham, Josh Hartnett and Rocci Williams in a scene from “Wrath of Man,” a film directed by Guy Ritchie.




Review: Jason Statham, Guy Ritchie get back together and have fun

This picture, published by Metro Goldwyn Mayer Pictures, shows Scott Eastwood in a scene from “Wrath of Man,” a film directed by Guy Ritchie.

By MARK KENNEDY AP Entertainment Writer

Jason Statham says very, very little in his new film. The English actor only needs to remember three pages of dialogue. But as always, he is very expressive with his hands. And the guns in them.

“You’re not much to talk about, are you Mary Poppins?” He is mocked in a locker room. Who do you think whoever said he was going to survive this movie?

Steely Statham meets with director and writer Guy Ritchie for a stylish vengeance mashup, Wrath of Man, built on a partnership that previously included Lock, Stock and Two Smoking Barrels, Snatch and Revolver has produced.

Both men are in their ideal element “Wrath of man” – Statham on a cool and persistent assassination attempt by the bad guys and Ritchie who captures everything with his kinetic cinematic style and troubled camera.

Loosely based on the 2004 French film Cash Truck, the story begins with the chaotic, bloody attack on an armored truck in Los Angeles that is hauling money, and excitingly returns to that key moment.

Hired as a security guard after the attack, Statham soon shines at Fortico Security, largely because he’s deadly enough to kill potential thieves – including a moonlit Post Malone – without ever crouching or evasive. He just walks right up to her, pumps bullets, and never misses. Someone calls it “clearly precise”.

Spirit of the Beehive: ENTERTAINMENT, DEATH Album Assessment

The term “Kmart Realism” was first coined in the 1980s to describe a trend in literary fiction defined by sparse sentences, fast-food joints, and the hyper-acceleration of capitalism and commercialization in predominantly suburban areas. Kmart realists like Mary Robison, Raymond Carver, Denis Johnson, and to some extent Don DeLillo wrote about the creepy feeling of walking through a mall at night and relaxing in front of the TV only to be greeted by endless advertisements for personal injury lawyers and lawyers Small town water parks that will make your brain forget about synthetic drugs. The term could also be applied Spirit of the beehive, the project of psychotropic Philly punks Zack Schwartz, Rivka Ravede and Corey Wichlin, whose excellent fourth album ENTERTAINMENT, DEATH is illuminated by the same terrible, phosphorescent light.

If you tried to have a conversation while listening to CONVERSATION, DEATH, you would forget what you said when the words gushed out of your mouth. It’s an inherently destabilizing album that doesn’t adhere to any specific narrative. Instead, it’s fragmented and stitched together with old commercials, noise, and guitar failures. Opener “Entertainment” sounds like an automatic demolition at first, then shakes itself up and takes on the quality of a rotten yé-yé song. A section of string rises from the dirt; The texts are blurry and distorted. “On the way to the east in the direction of KSMO / 16-Rader that come too close / dust picks up and swallows us whole,” sings Schwartz, as if he had just woken up from a nap.

Spirit of the Beehive aren’t unique, but they just don’t sound like everyone else in their home scene. They come from the world of Philadelphia DIY, from punk basements with no proper plumbing and houses with large verandas. You meet people in bands like Palm tree and Body flesh. Frank OceanI’m a fan. If anything, their sound is less sympathetic to Philly DIY and closer to the kind of music that is released from London Chain. In their talent for fermenting chintzy pop music into something rabid and loud, they evoke something a bit like electro chanson freaks jockstrap.

ENTERTAINMENT, DEATH isn’t that different from anything this band has done before, it’s just better, more sophisticated. It’s no less strange or haunting than 2018, for example Hypnotic idiots;; if anything, it’s even creepier and stranger. A song like the muscular “Wrong Circle” feels like experiencing a bad high all over your body with your eyes twitching and pressure building up in your chest. Singing birds are juxtaposed with hyper-lively synthesizers, oceanic drums and modulated vocals. The music flickers and clicks like an old television in a channel search setting or flies under a yellowed street lamp.

Schwartz spent much of his youth in Miami taking acid, playing music in a locker, and then going to his job at a mall like him said Pitchfork. He compared his experience to the Jonah Hill skater movie Mid 90s;; ENTERTAINMENT, DEATH is also similar to Hill’s film. It feels listless, like a summer drinking Robitussin and skateboarding or maybe spraying a pentagram on the side of an old lady’s house. “I Suck the Devil’s Cock” best highlights the feeling of a wasted summer in the mall dreaming of being somewhere else. At almost seven minutes, it is the longest track on the album. There’s a burst of noise that sounds almost melodic, as well as multiple guitar lines. “Fear of needles, but not of everything,” sings Schwartz. He doesn’t value constructive criticism. “The surreal lyrics of Spirit of the Beehive reflect the kind of discomfort that is abundant in the writing of Kmart realists: visceral, hallucinatory vignettes that evoke a whole landscape of emotions in a few words.

ENTERTAINMENT, TOD is a very nice, very difficult record. It’s withdrawn, cryptic paranoia music late into the night, so disturbing and loud that it is almost too intimate at times, even when there are no real identifying details. The feeling it evokes is like listening to a close friend tell the details of his nightly terror: you see the sweat, the enlarged pupils, the general feeling of acute discomfort. However, Rapid & Complete Recovery offers a moment in the eye of the storm. The song is meandering, peaceful. Layers of synthesizers suggest watching the world recede below you as you take the elevator up a skyscraper. “Lifetimes compressed in a vacuum / no restrictions, you know what comes next”, Ravede and Schwartz harmonize, their voices are completely calm. What they are looking for is not clear; Spirit of the Beehive is an unrecognizable band. At any point in time, they are a whole galaxy away.

To buy: Hard trade

(Pitchfork earns a commission on purchases made through affiliate links on our website.)

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Evaluation: As soon as extra unto the breach in ‘Godzilla vs. Kong’ | Leisure

This time the price war in the ultra-heavyweight between Coke and Pepsi of MonsterVerse is not breaking new ground. That could be his salvation. Wingard (“You’re Next”, “The Guest”) gives us some solid supporting characters (Brian Tyree Henry as a podcasting conspiracy theorist on the right track is the best of people) and a chic sound design. But mostly “Godzilla vs. Kong” delivers appropriately silly science fiction antics and a few good rounds of monster mayhem, including a ballet of battleships on the open ocean when they first met.

One difference: you can instantly see the movie either on a Godzilla-sized screen or on a salamander-sized screen. “Godzilla vs. Kong,” which debuts on Wednesday, is in theaters and streaming on HBO Max at the same time. I saw it at home when a five-year-old in the next room asked why the big ape was so angry. It’s a new, more humble home for the mighty climber of the Empire State Building.

And it’s his home that he’s looking for in “Godzilla vs. Kong”. As it turns out, this sunny morning waterfall is an enclosed habitat for the caged monkey that Dr. Ilene Andrews (Rebecca Hall) and her deaf daughter Jia (Kaylee Hottle) are guarded. When Godzilla carries out a seemingly unsolicited attack on Apex, a high-tech cybernetics company ruled by Walter Simmons (Demián Bichir), plans to use Kong to lure Godzilla to the surface and then track Godzilla’s power source – an undiscovered one Center of the world center believed to exist from Nathan Lind (Alexander Skarsgård), the proponent of the “hollow earth”. It’s a plan so obviously designed to come into conflict and turn a metropolis into ruins that you can almost hear Hong Kong pleading, “Please, no.”

Restaurant Overview: Tha’ Dawg Home, 10 years after | Leisure

If you’re baking cookies, you can make gravy too. Your sauce isn’t too thick, with just the right amount of sausage and black pepper. A gravy biscuit is $ 1.99 or you can get a generous side dish for $ 1.39. You can wash it down with a little coffee for 99 cents.

Breakfast plates are available. We can confirm that Tha ‘Dawg House knows how to cook an egg the way you want it. Two eggs with bacon, hash browns, and a “Cathead” biscuit with semolina or sauce cost $ 6.99.

During the week at 10:30 a.m. and on Saturday at 11:00 a.m., breakfast ends and lunch begins. As you might guess, this is where the “Dawg” part of the name comes in. There’s the Hot Dawg ($ 1.89), the Black Angus Dawg ($ 3.29), and the Polish Dawg ($ 3.89). A nice soft bun, hearty chili with the right consistency for a dog, and an array of toppings including grilled onions and cabbage are regular options. If you’re not into a bun, get the corn dog ($ 1.89). It’s crispy on a stick that will keep your hands clean while you eat.

Before we talk about their burgers, we have to praise their homemade potato chips ($ 1.99). We suspect the spice on them is one’s secret; it is so good. It would be a good move to flavor those fries ($ 1.89) and differentiate them from everyone else’s crinkle fries.

If the burger is a bit bigger than the bun, that’s a good thing. A soft bun and fresh toppings make it even better. Their single burger is $ 3.99; Do a double for $ 7.69 or just add bacon to the single for $ 4.99. If for some reason you don’t like dogs and burgers, BLT, Bologna, and breaded, grilled or Cajun chicken are on the menu. Sorry, but after all the cookies, dogs and burgers, we just couldn’t try everything.

Overview: John Smith sings of resilience, devotion and hope | Leisure



This cover photo, published by Thirty Tigers, shows “The Fray” by John Smith.


HONS

From STEVEN WINE Associated Press

“The Fray”, John Smith (30 Tigers)

During the first song on John Smith’s new album, hand claps break out as if welcoming the emotions to come.

“The Fray” is the British singer-songwriter’s answer to the past year and offers 12 melodies of resilience, devotion and hope, with determination in the lyrics and buoyancy in the music.

“It’s been a crazy year. where do I start? “Smith sings, his sandpaper tenor is a voice of recovery.

The album’s melodic folk-pop, based on Smith’s subtle guitar work, has a calming influence (he records his moods in the liner notes). And he has excellent help: Bill Frisell offers an elegant guitar solo for “The Best of Me”, and Sarah Jarosz, Lisa Hannigan and the Milk Carton Kids support her with a charming voice.

The arrangements benefit from a pleasant variety. “To the Shore” swings like a shanty, the title cut is heightened by gospel piano, and “Just As You Are” is a waltz to heal.

“Hold On” is the heart of the set. With horns, angelic backing vocals, and a smart guitar riff, it’s good music and advice.

Copyright 2021 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed in any way without permission.

Overview: An indiscretion, a stalker and a marriage gas novel | Leisure



This cover photo, published by William Morrow, shows “Every Vow You Break” by Peter Swanson.


HONS

From BRUCE DeSILVA Associated Press

“Every Vow You Break” by Peter Swanson (William Morrow)

When Bruce, a fabulously wealthy financier, suggests Abigail after just three appointments, she says yes. Then she gets drunk at a bachelorette party he paid for and sleeps with a complete stranger. She feels guilty afterwards, if not terribly, and decides to keep the indiscretion to herself.

But when she returns to New York, the stranger who goes by the name of Scott emails her asking her to annul the marriage because she belongs to him. She tries to gently let him down, but then at their wedding she believes that she sees him lurking outside.

This beginning – and the book title “Every Vow You Break,” reminiscent of a famous stalker song by The Police – prepares readers for what the publisher’s hype has promised. A thriller.

But for a thriller, the first 130 pages unfold at an excruciatingly slow pace. Writer Peter Swanson takes time to tell us about Abigail’s childhood in a small Massachusetts town where her parents own a local theater. He tells us about Abigail’s first friend. And her second. And you third. It turns out that none of this has anything to do with the plot, nor does it develop its character in any way that explains their later actions.

If readers stick with it, Swanson will pick up the pace about halfway through. Abigail’s fear of Scott and her fear of losing Bruce to indiscretion grows – and then turns into horror when the stalker crashes her honeymoon at a nightmarishly strange island resort.

Evaluation: Kiss star man Paul Stanley exhibits an entire lotta soul | Leisure



This cover photo published by uDiscover shows “Now And Then” by Paul Stanley’s Soul Station.


HONS

From WAYNE PARRY Associated Press

Paul Stanley’s soul ward “Now and then” (uDiscover)

The love rifles were all unloaded and safely holstered, and this time Detroit is a city of the soul, not a rock city, as Paul Stanley, ringleader of the four-ring circus known as Kiss, pays homage to the classic soul on a new solo album.

The starry singer and guitarist covers some of the greatest soul songs ever written, and with that in mind, he is writing five new tracks.

It can surprise, if not shock, many Kiss fans. But then they accepted Peter Criss’ orchestral ballad “Beth” and (a lot) had nothing against it when Gene Simmons reported on the Disney classic “When You Wish Upon a Star”.

There is no arena rock here. Crooning and Falsetto abound in The Spinners’ “Could I Fall In Love”; The Temptations’ “Just My Imagination”; and Smokey Robinson’s “The Tracks of My Tears”. He even keeps the electric sitar on The Stylistics’ You Are Everything.

And not since Barack Obama sang a few bars of it, there has been a more unexpected cover of Al Green’s “Let’s Stay Together”.

Some of Stanley’s originals are pretty good too, and would have had a good chance of becoming AM radio hits in the ’70s, including “Save Me” and “When You’re Ready”.

Evaluation: ‘Klara and the Solar,’ by Kazuo Ishiguro | Arts & Leisure

“Clare and the Sun” by Kazuo Ishiguro; Button (320 pages, $ 28)

Klara, the narrator of Kazuo Ishiguro’s new novel, is not human, but understanding people is her mission. In “Klara und die Sonne” the reader follows her on this mission, in a world that seems like our own in a not too distant future. It’s a dazzling and deeply moving journey.

Ishiguro, who was born in Japan but lived most of his life in England, has written seven previous novels, including the Booker Award-winning Remnants of the Day, as well as short stories, lyrics and scripts.

“Clare and the Sun” is his first novel since he received the 2017 Nobel Prize for Literature. He underscores how well he deserves this award, in his beautiful craft and prose, and in his delicate but unshakable sense of the human heart.

Ishiguro has often removed the boundaries between literary and genre fiction, drawing on science fiction and mystery in “Never Let Me Go” or on fantasy and fable in “The Buried Giant”. In “Klara and the Sun” there are tapes of all these genres.

Klara is an AF or artificial friend, a kind of robot with a human appearance and a high level of artificial intelligence, intended to serve as a companion for a child or teenager. The book begins when she’s “new”, lives in a shop that sells AFs on a busy city street, and learns to understand her little piece of the world.

Some things are programmed into their AI. She can estimate a person’s age at a glance and determine whether their suit jacket has a “high” social status. It can judge whether the tiny wrinkles around a woman’s eyes suggest a smile or a suspicion.

Clare has a deep reverence for the sun, which she regards as a deity. It might seem strange to fit into an Android, but AFs are solar powered, so paying attention to the sun is a matter of survival for them – and, as Klara believes, maybe for some people.

When it comes to things that are not in her code, Klara is programmed to observe and learn. When 14-year-old Josie and her mother walk into the store, Klara notices that the girl is pale and thin and has difficulty walking, but that she is also smart and adept at manipulating adults. Josie also learns quickly – she notices how Klara deals with the sun and promises her that they can watch the sunset together in her house.

It doesn’t take long for Klara to be Josie’s AF, living in a comfortable house far out of town with a sunset view. Josie is delighted with her; It takes Klara longer to find out how she gets along with her mother, a tense woman who runs to work every morning, and the gruff housekeeper Melania. (Clare tends to label people according to their roles.) But Clare is determined to find harmony because the focus of her programming is on keeping Josie happy and safe.

Why should a child need AF at all? It seems a lot of them do. Josie is far from being the only child in this world homeschooled and largely isolated from the outside. She has a real boyfriend, a boy her age named Ricky, who lives up the hill with his mother. They are closely related, but there is a sharp difference between them: Josie is “lifted”, Ricky is not. What this term means and what it has to do with Josie’s fragile physical health crops up and then becomes decisive.

Klara’s quiet life with Josie is troubled by a trip to town. It has multiple purposes: Josie will see her father (her parents are divorced) and visit an artist who is creating a portrait of her, while Ricky and his mother will come along to meet a man who can potentially change Ricky’s future.

The journey is a deluge of revelations about all of these characters that Klara finds almost overwhelming. Ishiguro always keeps us in Klara’s head, mainly through his skillful handling of her narrative voice, which is formal and almost childlike in its innocence.

We also sometimes see through her eyes, which seem to have a technical flaw that causes her view to disintegrate into something between pixelation and cubism when she is under stress, like in an unpleasant conversation: “She had coffee and me looked at the whole time until I found that the mother’s face filled six boxes of its own, and her narrowed eyes returned to three of them in a different corner each time. “

What Clare finds out about Josie and her family in town will lead to decisions that could be difficult for a person. The father asks her: “Do you believe in the human heart? I don’t just mean the organ, of course. I speak in a poetic sense. The human heart. Do you think there is such a thing? Something that makes each of us special and individual? “

For Klara, programmed for loyalty and self-sacrifice, the answer is clear. For some of the people around her, it might be an open question.

The calmly breathtaking finale to Klara’s story made me feel a little like one of the first famous AFs, the tin man in The Wizard of Oz, when he said, “Now I know I have a heart because it’s breaking.”

(c) 2021 the Tampa Bay Times (St. Petersburg, Florida)

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