“For any trustees out there, you’re going to have to start spending some real money on administration to make sure that we are able to extract all this data.”She added that many older pension schemes still had physical records stored in boxes or on outdated technology such as microfiche, which would require significant investment and resource to digitise and harmonise in preparation for providing data to dashboards. UK pension schemes must be prepared to put much more money into their administration and data services in order to make the proposed pension dashboard concept workable, according to industry experts.The UK government has introduced draft legislation providing for rules requiring schemes to supply data to organisations creating dashboards, online portals designed to display all an individual’s pension savings in one place. The UK’s Money and Pensions Service (MAPS), a public financial guidance body, is leading the dashboard development.Discussing the proposals at the Pensions and Lifetime Savings Association’s (PLSA) annual conference in Manchester last week, Nicola Mark – head of the Norfolk Pension Fund and chair of the trade body’s local authority committee – said administration had to find a place on trustee boards’ agendas.“Data is all about the quality of scheme administration,” she said. “On most trustee boards, scheme administration is not a main part of the agenda… but [it] is so critical. Administrators say they struggle to get an item on board agendas. Industry experts discuss the Pension Schemes Bill at the PLSA conferenceRoyal Bank of Scotland pension director Carol Young, who chairs the PLSA’s defined benefit (DB) policy committee, added that the industry would “have to be realistic about the timeframe” for bringing DB data onto the dashboard.In particular, she said, there were challenges around how to display accrued DB pensions. While defined contribution (DC) pots were expected to be displayed as a total figure, using a similar approach for DB pots could inadvertently encourage members to attempt to transfer out and lose DB protections, she warned.“Is there going to be a way to share the relevant amount of information around what people might be giving up if they transfer?” Young said. “There will be some important practical considerations, and particularly from DB members’ perspectives there are some important safeguards to consider about how that data is shown.”Gregg McClymont, director of policy at UK master trust The People’s Pension, added that protections applied to members of occupational pension schemes should be extended to investors in retail pension products.“Beyond the data, beyond the political differences, as we get into the actual dashboard, I think there is the fundamental question of how do we ensure that your members are protected appropriately,” he said.McClymont, a former pensions spokesperson for the Labour Party, added that the draft legislation was unlikely to be passed soon, given the amount of parliamentary time being taken up by Brexit discussions.The Pension Schemes Bill, as it is called, was introduced to the UK parliament’s upper house on 15 October and is scheduled for a second reading on 30 October. The prime minister still wants the UK to leave the EU on 31 October but this weekend was forced by law to write to the EU to ask for an extension. Earlier this month the pensions regulator ordered 400 schemes to carry out an urgent data review, and said accurate record-keeping would be crucial for the pensions dashboard.
Opening with Tyler, the Creator’s “A BOY IS A GUN” is a unique yet fitting choice. Though I haven’t quite deciphered the eerie opening sequence with the less-popular “IGOR” track in the background, it works. Passing Randy’s Donuts, a neon “good vibes only” sign, vendor booths and the main stage of what seems to be Issa’s block party, the hook, “You so motherfuckin’ dangerous” with “No, don’t shoot me down,” humming beneath, seems to foreshadow the demise of Issa and Molly’s friendship. Yet, the placement could solely be a sonic choice — more so reflecting Issa’s quirky-Black personality. She’s no Odd Future member but the protagonist of HBO’s comedy series is arguably as odd as Tyler, the Creator himself. Unpacking every song played during the “Lowkey Feelin’ Myself” episode would be nonsensical. Anyone who’s seen the previous seasons is aware of how “Insecure” consistently delivers on the music front. More importantly is how the show’s music choices are effective in complementing an aesthetic crafted over the past few seasons. Featured are unsung heroes, such as Jazmine Sullivan’s work on the title track “Insecure” or popular newcomers like SZA’s “Supermodel” ending season two’s “Hella Questions.” Never does the show feel like a drawn-out music video, à la Hype Williams’ “Belly.” Better yet, the show’s soundtrack is reflective of a new-age of Black television, highlighting familiar settings in a new way — as FX’s “Atlanta” does — while showcasing new talent and fresh ideas. “This week, we have a guided yoga session set to the Mereba album, along with some herbal enhancements pre-rolled to perfection,” Issa said, with the song playing in the background elevating the show’s storytelling. Erykah Badu’s “Green Eyes,” Goapele’s “Closer” or Amel Larrieux’s “For Real” could have served as the soundtrack to the duo’s smoke-and-yoga session, but they would’ve missed the mark as stereotypical choices for Black women who do yoga and smoke weed. The lesser-known “Sandstorm” is a more subtle choice that resonates with a contemporary audience. (Sara Heymann | Daily Trojan) For a while, I longed for television to return to the tradition of celebrity musical appearances which populated ’90s sitcoms: think of Boyz II Men on “The Fresh Prince of Bel-Air.” Yet when imagining a possible Megan Thee Stallion or Lucky Daye cameo, I can’t place it perfectly. It would come off as basic and another way to force celebrity culture down our throats. In lieu of this, “Insecure” gives us a selection of songs that ease us into Issa’s world and heighten moments such as her clique’s appearance at the Kiss ‘n’ Grind party. Taste is rare, especially when it comes to music. Better yet, taste is subjective. Kudos to Rae and Lehman for having it. Khia’s “My Neck, My Back” was the most annoying placement in the episode. I’d hate to use the word ratchet, but it best defines Issa’s tenant who requests the club anthem during Issa’s fundraiser. Hearing the track was initially funny as Issa’s brother-turned-DJ danced behind a makeshift booth. It also added to the trainwreck that her fundraiser was becoming. Anytime I hear “We were low, we were high, Jekyll, Hyde / I’ll still stay by your side,” an instant smile graces my face. If there weren’t a Mereba track in this season, I’d honestly be shocked. “Sandstorm,” the single from her 2019 album “The Jungle Is The Only Way Out,” is set to more fly-over shots of Los Angeles, as well as Molly and Issa’s self-care Sunday. Ellice Ellis is a senior writing about the music industry and social justice. She is also an Arts & Entertainment Editor for the Daily Trojan. Her column “Everything but the Song” runs every other Wednesday. In a 2018 interview with Billboard, music supervisor Kier Lehman described the show’s musical tone: “The style of music they use feels very West Coast, like L.A. — very modern, not a throwback or a stereotype.” I couldn’t agree more, although “My Neck, My Back” is a glaring cliché. It’s representative of a new-age L.A. — it’s music I, as a 21-year-old, would listen to on a trip to Simply Wholesome or with friends at a strip of the beach in between Santa Monica and Malibu. To the scene’s downfall, “All you ladies pop your pussy like this / Shake your body, don’t stop, don’t miss,” exemplifies the elements of the series that seem almost cherry-picked from Black Twitter. The selection, paired with the character who embodies it, is stereotypical and too on-the-nose. It’s an eye-roll among the other nine songs featured in the premiere, but I’m not surprised. I’m not sure if “Insecure” could survive without its caricatures. Sunday’s fourth season premiere of “Insecure” opened on a high note. After waiting more than a year to witness Issa (Issa Rae) and her funny, drama-ridden friend group, of course, the expected opening shots of Los Angeles were a delight. Yet, even better than the series’ return was the music used in the premiere.
From the conference hall to meet the press and the first time Gianni Infantino was put under the media microscope as President of FIFA.There will be no hiding place now for the man who is only the ninth president in the organisation’s 112-year history. The tone was one of inclusion and responsibility.“We will work tirelessly, starting from myself, through all the associations and all the staff members to make sure that we bring football back to FIFA and FIFA back to football because this is what we have to do, what we want to do and what we will do. We will restore the image of FIFA, we will make sure that everyone… everyone will be happy with what we do,” he told journalists.The result of the ballot was welcomed by many including Sepp Blatter who seemed to be trying to take a share of the glory when he said, “Gianni Infantino will now have to take over what I started, the last remaining points of the big reform package.”Gianni Infantino was been elected as the man to replace Sepp Blatter as FIFA president, winning an overall majority in the second round of voting. The Swiss-Italian edged ahead of favourite Sheikh Salman bin Ibrahim al-Khalifa in the first ballot but failed to secure the two-thirds of the vote required to secure victory.Infantino picked up 115 votes, needing just 104, to replace Sepp Blatter at the world football governing body.