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Conduct an interview with one local person in the youth/human services area: teachers, social workers, youth case managers, child and adolescent counselors, school counselors, clinical mental health counselors, addictions counselors, marriage and family counselors, etc.. The interview can be via Zoom, phone, or email. This paper should be no more than 3 pages and will be uploaded to Canvas to submit. These interviews should cover the following topics:

Name of professional, contact information, place of employment
What are the professional’s credentials (e.g., degree, license, etc.)
How did the professional come to work in human/youth services? Their motivation, drive?
The professionals beliefs and knowledge about ethical dilemmas presented at their place of employment.
What are common issues, diagnosis, developmental or other mental health disorders do they work with and what skills or techniques are often used?
Ways the employer and individual professional promote self-care
Roles and functions of youth/human services professionals, issues of child abuse, adverse childhood experiences (ACEs)
Levels of collaboration, issues of addiction and working with the family is part of the day-to-day functions
Youth/human service professionals roles and use of local, regional, or national resources
Supervision and professionalism models, practices and processes.
Current labor market information relevant to opportunities for practice within the youth/human service profession. Current employment opportunities and job market?
Ways to address institutional and social barriers that limit access, equity, and success for clients
Student reflection on the information and insights gained by completing this interview.
Didnt get a response back from the clinical psychologist/owner i wanted to interview

Sample Solution

In any case, the essential focal point of consideration on this development is towards the end from not long before practice 133 through the end. Here, Shostakovich includes an ever increasing number of accidentals, taking the melodic example he states in the metal and constantly moving it upward. Since different instruments are playing an ostinato that doesn’t change keys, this includes a degree of odd disharmony that causes it to appear as if the piece is moving more remote away from a good consummation. It isn’t until practice 134, where the metal plays the rehashing three note thought process from the earliest starting point of the piece that we begin to get some feeling of the piece going to a rhythm. The backup gets increasingly more blustering all through this segment until the piece closes with harmony hits on the bass drum and timpani underneath a booming D significant harmony. The last development of the orchestra is a walk played in a brisk beat. The walk was a worthy type of social authenticity.>

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In any case, the essential focal point of consideration on this development is towards the end from not long before practice 133 through the end. Here, Shostakovich includes an ever increasing number of accidentals, taking the melodic example he states in the metal and constantly moving it upward. Since different instruments are playing an ostinato that doesn’t change keys, this includes a degree of odd disharmony that causes it to appear as if the piece is moving more remote away from a good consummation. It isn’t until practice 134, where the metal plays the rehashing three note thought process from the earliest starting point of the piece that we begin to get some feeling of the piece going to a rhythm. The backup gets increasingly more blustering all through this segment until the piece closes with harmony hits on the bass drum and timpani underneath a booming D significant harmony. The last development of the orchestra is a walk played in a brisk beat. The walk was a worthy type of social authenticity.>

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