Funeral Poverty

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5/26/21 CONSERVATORSHIP AND #FREEBRITNEY Victoria J. Haneman Frank J. Kellegher Professor of Trusts & Estates Creighton University School of Law Twitter @TaxLawProf Glenn Francis, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons 1 California Probate Code Section 1800 (a) A conservator of the PERSON may be appointed for a person who is unable to provide properly for his or her personal needs for physical health, food, clothing, or shelter, except as provided for the person as described in subdivision (b) or (c) of Section 1828.5. (b) A conservator of the ESTATE may be appointed for a person who is substantially unable to manage his or her own financial resources or resist fraud or undue influence, except as provided for that person as described in subdivision (b) or (c) of Section 1828.5. Substantial inability may not be proved solely by isolated incidents of negligence or improvidence. 2 1 5/26/21 California Probate Code Section 1800.3 (a) If the need therefor is established to the satisfaction of the court and the other requirements of this chapter are satisfied, the court may appoint: (1) A conservator of the person or estate of an adult, or both. (2) A conservator of the person of a minor who is married or whose marriage has been dissolved. (b) No conservatorship of the person or of the estate shall be granted by the court unless the court makes an express finding that the granting of the conservatorship is the least restrictive alternative needed for the protection of the conservatee. 3 4 2 5/26/21 Abridged Timeline February 2008 Regains some visitation rights with her children. March 2008 Guest appearance on “How I Met Your Mother.” Episode earns the show its highest ratings ever. 2008 Releases her sixth studio album, “Circus.” 2008 Sets a record in the “Guinness Book of World Records” as the youngest female artist to have five albums debut at No. 1. March 2009 Embarks on the “Circus Tour,” which rakes in $131.8 million. May 2009 Confirms she is dating her agent, Jason Trawick. September 2010 TV’s “Glee” dedicates an episode to her. She makes a guest appearance as herself. 2011 Releases her 7th studio album, “Femme Fatale” + Femme Fatale Tour” opens May 2011 “Till The World Ends,” her second single, reaches No. 3 on the Billboard Hot 100. November 2013 Britney Jean is the 8th album recorded. December 2013 Her Vegas residency opened (four years, grossing $138 million) August 2016 Glory is the 9th album recorded. October 2019 She announced that Domination Vegas residency January 2019 She cancels Vegas residency and says she is on an “indefinite work hiatus.” Jen from USA, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons 5 “From the little I saw and have seen of Britney Spears, there's no way she would, in my mind, qualify for conservatorship under normal circumstances.” Don Slater, a California attorney specializing in conservatorships, in an interview with Vice. Drew de F Fawkes, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons 6 3 5/26/21 7 4.

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1 ZOË BRENNAN-KROHN (SBN 324912) [email protected] 2 SUSAN MIZNER (SBN 163452) [email protected] 3 AMERICAN CIVIL LIBERTIES UNION FOUNDATION 39 Drumm Street 4 San Francisco, CA 94111 Telephone: (415) 343-0769 5 Facsimile: (415) 343-0950 6 AMANDA GOAD (SBN 297131) [email protected] 7 ADITI FRUITWALA (SBN 300362) [email protected] 8 AMERICAN CIVIL LIBERTIES FOUNDATION OF SOUTHERN CALIFORNIA 1313 West 8th Street, Suite 200 9 Los Angeles, CA 90017 Telephone: (213) 977-9500 10 Facsimile: (213) 915-0219 11 Counsel for Petitioners Requesting Confidential Communication and Offering Supported 12 Decision-Making Services 13 SUPERIOR COURT FOR THE STATE OF CALIFORNIA FOR THE COUNTY OF LOS ANGELES, CENTRAL DISTRICT 14 15 Case No. BP1088790 In re the Conservatorship of the Person and 16 Estate of PETITION BY AMERICAN CIVIL LIBERTIES UNION FOR 17 BRITNEY JEAN SPEARS CONFIDENTIAL 18 COMMUNICATION WITH CONSERVATEE TO OFFER AND 19 PROVIDE SUPPORTED DECISION- MAKING SERVICES 20 REQUEST FOR ARGUMENT 21 22 Date: July 14, 2021 Time: 1:30PM 23 Department: 4 Judge: Hon. Brenda J. Penny 24 25 26 27 28 PETITION BY ACLU FOR CONFIDENTIAL COMMUNICATION AND TO OFFER SUPPORTED DECISION-MAKING SERVICES 1 PETITION FOR CONFIDENTIAL COMMUNICATION WITH CONSERVATEE TO 2 OFFER AND PROVIDE SUPPORTED DECISION-MAKING SERVICES 3 Petitioners American Civil Liberties Union Disability Rights Program and American Civil 4 Liberties Union of Southern California (collectively “ACLU”), respectfully petition this Court to 5 offer conservatee Britney Spears supported decision-making assistance in selecting her next 6 attorney. 7 This petition incorporates the arguments set forth in the proposed brief concurrently filed 8 by disability and civil rights organizations as amici curiae in this case.
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Intimate live girls Halligan, B Title Intimate live girls Authors Halligan, B Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/33518/ Published Date 2015 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Intimate Live Girls Benjamin Halligan Keywords: aura, intimacy, kissing, authenticity, liveness, social media, spectacle, Miley Cyrus, Katy Perry, Terry Richardson, Peter Gabriel Abstract: The arena concert requires a particular type of liveness of performance in order to transcend impersonal mass entertainment. Liveness here looks to authenticity and happenstance, privileges personal communications and seeks to live in the moment, and in this way the live performance then meets and matches or even surpasses the virtual life of the artist or group. The concert must be both mass spectacle and an individual and singular experience for those witnessing and participating in it. Without these latter essential attributes, which can be read as the auratic and authentic replacing the virtual, the arena concert falls short of ontological expectations of live music. In recent years the mise-en-scène of the arena concert has become calibrated to female artists with, seemingly, a concomitant feminisation of the event. In this, the space is often given over to intimacy, empathy, and presented as an insight into the life, and even philosophy, of the performer.
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