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By MEG KINNARD. COLUMBIA, S.C. — The quibbling continues over how much a South Carolina stripper should be compensated after being shot while on the job, with the state’s highest court on Wednesday ordering a new hearing in the woman’s case. The decision comes two years after Supreme Court justices ruled that LeAndra Lewis was an employee of the club, not an independent contractor, a determination that meant she was entitled to workers’ compensation benefits. Lewis was working as an exotic dancer at the Boom Boom Room Studio 54 in Columbia in 2008 when a stray bullet struck her in the abdomen during a fight. According to court records, Lewis suffered internal injuries, resulting in the loss of a kidney.
The club had argued Lewis was simply a contractor and wasn’t on its books as an employee, But, the court found repetto gold ballet flats in its initial ruling, the club chose Lewis’ dance music, required her to perform dances for certain customers, and barred Lewis from leaving work early without risk of a fine, In that 2015 ruling, the high court left it to the Workers’ Compensation Commission to determine how much of a benefit Lewis should receive, an award ultimately set at $75 a week, The panel, according to justices, provided no documentation for how it arrived at that amount..
The court pointed out it wasn’t saying the amount had been too low or too high but rather that the commission’s order “was devoid of any specific and detailed findings of fact to substantiate the award.”. A phone listing for the club’s owners could not be found, and an attorney for the workers’ compensation panel didn’t immediately return a phone message seeking comment on the case. Kinnard can be reached at http://twitter.com/MegKinnardAP. Read more of her work at https://apnews.com/search/meg%20kinnard.
The Bay Area News Group received a pair of honors Monday in a national journalism contest for its coverage of an under-performing online school network that reaped millions of California tax dollars and of the Oakland warehouse fire that killed 36 people during a dance party, Jessica Calefati, a former reporter in the news organization’s Sacramento bureau, took first place in the National Headliner Awards for education writing, and the staff of the East Bay Times won second place for spot news for its coverage of the Ghost Ship fire, which was honored last week repetto gold ballet flats with the Pulitzer Prize..
Calefati was honored for her two-part investigative series on K12 Inc., a publicly traded Virginia-based company that operates a profitable but low-performing statewide network of online schools. Three months after the series ran, California Attorney General Kamala Harris reached a $168.5 million settlement with K12 over claims it manipulated attendance records and overstated its students’ success — two key findings of Calefati’s reporting. The project by Calefati, who now works for the nonprofit Sacramento-based journalism site CALmatters, was also honored last year by the Society of Professional Journalism’s Northern California chapter. Projects by the Milwaukee Journal Sentinel and Reuters took second and third place in the Headliner contest.
The National Headliner Award also honored the East Bay Times’ coverage of the deadly Ghost Ship fire. The coverage, which involved journalists from across the Bay Area News Group, also received first-place honors from the Scripps Howard Awards, the American Society of News Editors, the Best of the West and the Pulitzer Prizes, The Dallas Morning News took first place in the National Headliner Awards for its coverage of the Dallas police shootings, Bay Area News Group staff repetto gold ballet flats writers Julia Prodis Sulek and Matthias Gafni also earned first place in the Best of the West contest’s News Writing category for their story “The Last Hours of the Ghost Ship.”..
Cuban pianist Omar Sosa shot to international jazz fame during his four years in the East Bay, a brief but creatively fecund period in the late 1990s when his music steadily expanded to encompass sacred Santeria chants, Afro-Ecuadoran rhythms, Moroccan modes, hip-hop cadences and post-bop harmonic vistas. He returns to the Bay Area this week with three very different ensembles reflecting his ongoing evolution as an artist with globally attuned ears. While each band brings together a far-flung cast of musical innovators, it’s not hard to identify the common thread connecting the combos, namely the hard-hitting pianist’s abiding passion for percussion.
“I’m a percussionist, and I love to repetto gold ballet flats play with percussionists,” says Sosa, 52, who grew up in the eastern Cuba city of Camaguey, a stronghold of African culture, and has long lived in Barcelona with his wife and two children, “Thanks to God for giving me the opportunities to play with these masters.”, He opens his four-night SFJazz residency April 20-21 with his long-running Quarteto AfroCubano, a group that’s honed a springy, mercurial body of music that combines Afro-Cuban roots with southern African soul..