Lets get started again. We will start with the first panel, and i will introduce the moderator and then she going to introduce the panelists. Honored to introduce to you monica stanky who is with the raven group. She is a nationally known expert on Immigration Law and policy. I know monica from her time on the judiciary committee, the house judiciary committee, where she focused on immigration and refugee issue, but i also know monica for another reason. Her father was a refugee from uganda resettled to new orleans by hius, my organization. Monica. Thank you very much, and thank you for being here, and thank you to mark, and for putting on this wonderful event. As mark said, my father was resettled by hius in 1972 and so i have a personal connection and as counsel on the judiciary committee, it is wonderful to be here. Today we want to diverge from the standup panel, and we want to have two wonderful speakers today and look at how the refugee act came to be and then take a step back to
AUTHOR’S NOTE: Although the focus of this interconnected series of stories rests squarely upon actions that occurred in or near the Circus and Hilltop bars in Soldotna between May 1961 and December 1967, this chapter necessarily includes several actions far from the central Kenai Peninsula.
In 1908, UM's Quill and Dagger Society was “revived” with the production of “Tulu,” to be followed by “two other light productions, ‘The Box of Monkees' and 'Mr. Bob.' Soon after, the Quill and Dagger Society became known as the “Montana Masquers” student group, and in 1918 “the group became the Masquer Theatre Organization, then later the Montana Masquers.”