Backroom deals are being made to introduce secretive, paperless, risky Internet voting (IV) to San Francisco (SF) and the Bay Area (BA). This has been going on for many months, with no notification to the public, and most tellingly, no notification to the SF Elections Commission (EC) until October, 2021. 

To stop this, democracy advocates are now going public. We are asking you to speak out for paper-based, transparent elections, and for assisting the disabled to vote without endangering our government.

To make them easy to find, we are starting with a Summary, Objectives and Contacts. Below these is a Background section that you may need to read to understand what is involved.
 

SF is working in collaboration with BA-UASI to develop a voting system using Internet voting (IV). They issued a Request for Proposals (RFP) April 2, 2021. Nobody informed the SF Elections Commission until October, 2021.

https://drive.google.com/drive/folders/1BX7X7qyB9IIwYiLxHXEHvTqixaQl7LfU (1st link on page)

Saturday, November 27, 3-7pm
Franklinton Arts District

Friday, November 26, 2021, 7:00 - 8:30 PM

LA Opera’s version of Gioachino Rossini’s 1817 Cinderella (or, in Italian, La Cenerentola) is by far my favorite production of this season. Indeed, La Cenerentola is one of the most enchanting, charming operas I’ve ever seen mounted at the Dorothy Chandler Pavilion, full of the joie de vivre of Mozart’s ebullient works, notably The Marriage of Figaro. La Cenerentola is absolutely the perfect choice for the holiday and is ideal for bringing children to share in the enchantment, especially to the matinee performances.

There are17th century written versions of Cinderella and by 1812 the renowned Brothers Grimm wrote their own iteration of the fairy tale. In essence, Rossini and librettist Jacopo Ferretti adapted French author Charles Perrault’s folk tale published in 1697, Cendrillon, which means “The Glass Slipper.” However, La Cenerentola doesn’t have any glassy footwear or pumpkin carriages per se, although Rossini’s opera does follow most of the other conventions of this age-old, beloved children’s fable, which can also be read as a parable of class struggle.

At a recent New York event, the President of the Foreign Press Association Ian Williams declared, before an approving audience, that it is time “to reclaim the narrative on Palestine”.

This phrase - ‘reclaiming the narrative’ - is relatively new to the Palestinian discourse. Years ago, the concept, let alone its implementation, were quite alien: the pro-Israel crowd refused, and still refuses, to acknowledge that Palestinians, their history and political discourse matter; some in the pro-Palestinian movement relegated Palestinian voices as if they were simply incapable of articulating a coherent narrative. 

For many years, I, along with other Palestinian intellectuals, raged against the misrepresentation and marginalization of Palestine and the Palestinians, not only by Israel and its allies in mainstream media, but also against the elitism that existed within the Palestinian movement itself.